MaxMSP

This paper discusses an algorithm for the creation of poly-rhythmic sequences of varying lengths that are synchronized to a grid of small pulses. Multi-voice polyrhythms that involve coprime ratios can lead to very long cycles of many millions of pulses. In order to quickly navigate this vast material, and to be able to interact in realtime with such sequences, an efficient algorithm is proposed that uses modulo operations to trigger sound events. Two other implementations are also shown, one for a microcon-troller board, and one for the generation of MDI files.

Convolution reverb is the process used for reverberating a signal by an impulse response of an actual space. The product of this operation is a third signal, containing reverberation of the space where the impulse response is captured. This project is based on creating a convolution reverb plugin on MaxMSP and evaluating the perceptual quality of convolution reverb.
The real-time fast convolution reverb plugin was implemented using multiple frequency delay line non-uniform partitioned convolution method on MaxMSP. An experimental design methodology was introduced in order to evaluate the perceptual quality of convolution reverb. In order to realise, anechoic drum kit music samples were recorded and re-recorded in a chamber to form the control signal. Also, using same equipment and setup, an impulse response was captured in the same chamber to form the test sample. These samples were then used for subjective analysis in a pair-wise categorical preference type listening test. The samples were also analysed in their spectrogram views in order to analyse the quality objectively.
Listening tests were designed so that realism, quality and personal preference categories were present. Null hypothesis was proved, where the realism difference of the two samples resulted in 52% of the participants preferring chamber reverb (control signal). However personal preference category resulted in 61%of the subjects preferring the chamber reverb. This was justified by objective analysis, where the convolution reverb shown to be having a faster decay rate for high frequency bands, thus sounding unnatural.

Music is one of the greatest sensory pleasures available to the human ear. Yet how can this pleasure be enhanced when combined with other stimuli, which work to engage other senses, simultaneously? It is a question that has been addressed by a variety of music visualisations – from simple desktop apps to live audio-visual mixing in nightclubs – and brought joy to those who experience it.
Yet there are also a certain group of people who, through some genetic twist of fate, experience this multi-sensory combination naturally – a phenomenon we call synesthesia. This group of people have been known throughout history to possess high levels of creativity, and their contributions to culture – especially within painting and music – is vast.
Therefore, in light of substantial research the topic of synesthesia and creativity, in this project, I aim to find the correlation between sound and colour and to compile the results in an interactive real-time audio-visual demonstration – and to see whether this recreation of synesthesia can enhance and inspire creativity within my test subjects.

This chapter examines computer assisted analysis and composition (CAAC) techniques
in relation to the composition of my piece TreeTorika for chamber orchestra. I describe
methods for analysing the musical features of a recording of a speech by Mao Zedong,
in order to extract compositional material such as global form, melody, harmony and
rhythm, and for developing rhythmic material. The first part focuses on large-scale
segmentation, melody transcription, quantification and quantization. Automatic tran-
scription of the voice was discarded in favour of an aural method using tools in Amadeus
and Max/MSP. The data were processed in OpenMusic to optimise the accuracy and
readability of the notation. The harmonic context was derived from the transcribed
melody and from AudioSculpt partial tracking and chord sequence analyses. The second
part of this chapter describes one aspect of computer assisted composition, that is the use
of the rhythm constraint library in OpenMusic to develop polyrhythmic textures. The
flexibility of these techniques allowed the computer to assist me in all but the final phases
of the work. In addition, attention is given to the artistic and political implications of
using recordings of such a disputed public figure as Mao.

Cette thèse examine les notions de temps réel et de temps différé telles qu'on les rencontre en informatique musicale et dans la musique contemporaine. La première partie commence par une approche historique, montrant la concomitance de leur apparition avec l'essor de l'informatique au début des années 60. Puis elle développe une critique du cloisonnement du temps réel et du temps différé en tant que catégories dichotomiques, à partir de définitions du seuil de latence qui sont incompatibles entre elles. Elle formalise enfin une représentation alternative : un axe "latentiel", qui intègre temps réel et temps différé. Cette représentation est illustrée par trois analyses axiales, utilisant un logiciel d'aide au classement relatif et subjectif. À la suite de cette réflexion théorique, la seconde partie présente cinq collaborations musicales dans lesquelles j'ai réalisé la partie informatique avec Max/MSP : CBox avec le compositeur Mario Lorenzo, sur un projet d'exploration des possibilités de la circularité ; Mimi et Rose amère avec l'altiste Stéphanie Réthoré, sur un projet d'alto augmenté pour l'improvisation ; FeedItBack et Iviv avec le compositeur Santiago Quintáns, principalement sur la pièce In Vivo / In Vitro, pour caisse claire augmentée ; a2m, Loterie, Emzed et Nappe avec le compositeur Mauricio Meza, sur la pièce Woes-war-sollichwer-den, pour clarinette, public, et ordinateur ; Plugiscope, Ifso, et Ultraviolette avec le clarinettiste et compositeur Iván Solano, sur un premier projet pour voix, un deuxième pour clarinette basse, et un troisième pour percussion. La thèse s'achève avec une brève réflexion sur le réalisateur en informatique musicale.

In this paper we describe a prototype system for haptic feedback embedded in a MaxMSP-based modular framework for composition and performance of live-electronics. In these performance contexts, there is typically no physical connection between the human performer and the live-electronics system, breaking the action-perception loop, which is vital to music performance. Leveraging recent works in the field of tactile notification we aim at closing this loop by communicating information from the live-electronics system to the performer via the haptic channel. We present a prototype tactile synthesizer, implemented as a module in CLEF (CIRMMT Live-electronics Framework). Tactile notifications can thus become part of a musical score and provide performers with information about the system, allowing for tighter interaction with the live-electronics.

Sound Art has become a new genre of Art in today. What we so called "sound art" now is closely related to the avant-garde art movement since the 20th century, and also has a lot of overlap with modern music, experimental music and other creative practices about sound. In recent years, the institute, art gallery, and other research and creative institutions have been concerned a lot about sound art. The progress of computer technology including real-time, interactive techniques will also bring some new performance inspiration. Sound artists also make their influence through art exhibitions, live performances, and published their works on the Internet.
"Sound art" naturally takes "sound" as the main expression of its work, and the carrier of sound works itself presents a trend of diversity with the development of technology today. In addition, with the continuous accumulation of the sound art text, the sound art works also carry a variety of creative ideas in thought. Therefore, it is difficult to give a precise and comprehensive definition of what sound art is. The difficulty of definition leaves a lot of room for debate among researchers. By sorting out the historical context and summarizing the rules of works, we can discover the development and changes of "sound art" that wander between music and sound, between art and technology, and between individuals and society.
After World War II, Japanese postwar sound art has been through a unique stage of development. Under the influence of the political-economic and social background, the postwar Japanese artists not only participated in the historical process of the development of sound art Actively, but also combined with the cultural elements of their own country to develop a unique sound art style in practice. A lot of works of Japanese artists have been accumulated over the decades, which coule be an excellent target for us to analyze the development of sound art.
For introduction, the first chapter of this paper will introduce the origin and definition of the word "sound art", as well as the basic situation of the avant-garde and western music in Japan before the war. The second chapter will talk about "Jikken Kobo(Experimental Workshop)", "The Laboratory of Twentieth Century Music" and John.Cage's tour of Japan ,which triggered the "John Cage Shock". The third chapter mainly discusses the unique development form of sound art in Japan since the period of rapid economic growth from 1960s to the 1990s. Analyzing the background force of pushing sound art forward, including the left-wing movement and anti-war movement caused by the domestic and international political and economic environment. The influence of rock and jazz on the young generation in Japan. And the practice in Japanese avant-garde art, such as Fluxus. Finally those Cultural Element causing a unique musical scene which is called "Japanoise". The fourth chapter will take the "soundscape" and "sound installation" since the 1990s as examples to explore the new Japanese sound art form in this period under the new technology and artistic concept.
This article is not intended to review all the details of Japanese post-war avant-garde art history and music history .I hope to find out the background development logic of Japanese sound art with  reviewing the history, analyzing  the representative Japanese sound art works. It’s my honor to bring some new research ideas for other researchers and creators.

KEYWORDS: Japan, Post-War, Sound Art, Contemporary Art, Development Research.

The primary objective for this project was to compile a software environment that would enable live instruments to be processed as performance in the context of jam session improvisations. Establishment of a stable platform that allows freedom within defined bounds and scope for on-the-fly live programming was the goal.
This commentary describes the workflow of the developed software. Intentions, objectives, overriding concepts and high-level structures involved will be explored as they become relevant in the discussion of how to use the system.

By multimodal interactions synthesis, we mean resynthesizing multimodal scenes via a corpus of heterogeneous data. This project is based on a framework developed in Max and Matlab which constitutes the digital composer's desk of Iquisme, a piece for soprano, nine instruments, an electroacoustic device and video. The corpus is made of material used in the first movement of Iquisme concert version. It is comprised of sounds, videos, 3D particle matrices and algorithmic control parameters indexed to the temporal progress of the piece. A dictionary learning of the corpus by Sparse Coding produces a lexicon of elementary interactions capable of reproducing parsimoniously any sequence of the first movement. Provided with this code, we then intend to reinject and deploy back into the progress of the piece a flow of data whose aim is to control the electroacoustic and video devices. A first experimentation enabled us to define a methodology for generating different dictionaries derived from the analysis of audio, video and audio coupled to the video. The whole corpus as well as a visualizing tool of the results applied to the temporal progress of the first six minutes of Iquisme first movement is available for download [1].

In a world of globalisation, where economic borders are suppressed whilst national and racial barriers are erected higher, the notions of tribalism and tribal behaviorism remain as dominant and indicative as always. Although tribes no longer exist, in the western world, these notions are nowadays related to groups, such as political or athletic associations, economic factions, trade-union organisations and professional guilds, religious teams, social networks on the Internet, e.t.c. These groups often have simple structures with few significant distinctions between their individuals. Tribalism describes the loyalties that individuals feel towards their group/tribe and the way these loyalties affect their behavior and their attitudes towards others. It also refers to the strong cultural identity that characterises oneself as a member of one group/tribe. These characteristics shape the tribal consciousness and loyalty to the tribal values and to the customs and beliefs of a tribal society. Each time a tribe is in danger of corruptive influences from external sources (other tribes), these values provide for strategies of defense. This paper describes the strategies and methodologies for creating and evolving local structures in a music and video installation. The installation consists of two videos with their unique sound track and a live video, which also contains a triggered sound. A microphone collects, transforms and feeds back sounds and noises generated by the visitors.

ABSTRACT In this paper we describe a prototype system for haptic feedback embedded in a MaxMSP-based modular framework for composition and performance of live-electronics. In these performance contexts, there is typically no physical connection between the human performer and the live-electronics system, breaking the action-perception loop, which is vital to music performance. Leveraging recent works in the field of tactile notification we aim at closing this loop by communicating information from the live-electronics system to the performer via the haptic channel. We present a prototype tactile synthesizer, implemented as a module in CLEF (CIRMMT Live Electronics Framework). Tactile notifications can thus become part of a musical score and provide performers with information about the system, allowing for tighter interaction with the live-electronics.

... In this article, we present the view that computer-aided editing of music (in the form of digitalaudio) would greatly benefit from ... As the technology proliferates and production-oriented facilities become common, the need for efficient software tools for sound editing becomes more ...

Audio units are sound processing plugins, and are one of the elements in many contemporary Digital Audio Workstations (DAWs) which have transformed the experience of creating and processing music.

From an early point in my music making career I became fascinated with the idea of being able to modularly personalise my work environment with the use of my favourite third party software. I began creating signal processing chains in the form of presets, to create the effects I wanted and had them easily accessible in my DAW of choice Logic Pro.
While combining chains of third party plugins created a possibility of huge varying combinations of effects that could be considered unique in their organisation in the signal chain and the parameters within those plugins set to values specific to the tasks involved.
The idea of personalised plugins to perform the tasks that I wanted in the studio inspired this project as a way to research the techniques necessary to implement software plugins with the underlying DSP of processes I use on a daily basis.