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  • System Detail

System: OpenMusic

Authors

Description

OpenMusic (OM) is a visual programming environment for creating computer aided composition applications on the Macintosh. Main Features Ease of Programming OM offers the user a number of visual modules, each of which is associated with a specific function and visual icon. The user needs only to connect the modules together using the mouse in order to create a program, called a patch, for generating or transforming musical material. Patches may be imbedded in each other. Powerful Editors Music Notation of musical objects (note, rhythm, chord etc.) and complex polyphony MIDI piano-roll using MidiShare (from GRAME France) Sound file waveform display "Maquette" editor which features: high level time oriented representation of the overall form of the work, playing capabilities (using both audio and MIDI), import/export of contents to Finale, management of all the material included in the composition. Large Set of Libraries OMSDIF for reading and writing files in Sdif format OM2Csound for generating scores for Csound OMChroma for general synthesis control OM2AS for generating parameter files for AudioSculpt OM2Modalys for virtual instrument construction for Modalys OMLZ for statistical modeling and generation of improvisation OMKant for rhythmic quantification and segmentation OMRC for programming rhythmic constraints OMCS for general constraints programming OMSituation for pitch and rhythm constraints programming Repmus The Music Representation Team's function collection Profile for manipulating pitch profiles and contours Morphologie for number and symbol sequence analysis functions OMChaos for chaos theory functions OMAlea for aleatoric functions Esquisse for spectral and frequency functions. Technical Features Visual programming in Digitool's Common Lisp and CLOS (Common Lisp Object System). Persistence of objects which may be selected, drag and dropped, opened, interconnected into Patches, shared or trashed. Drag and Drop capabilities applied to objects symbolized by icons (instantiations of classes and methods) in the OpenMusic Workspace as well as the Macintosh finder. Design and Development Ge'rard Assayag and Carlos Agon (IRCAM Musical Representation Team) with the collaboration of Olivier Delerue.

References

“Composers are now able, as never before, to satisfy the dictates of that inner ear of the imagination. They are also lucky so far in not being hampered by esthetic codification -- at least not yet! But I am afraid it will not be long before some musical mortician begins embalming electronic music in rules.”

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“... the individual and the society are deprived of the formidable power of free imagination that musical composition offers them. We are able to tear down this iron curtain, thanks to the technology of computers...”

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“The use of computers is the logical outcome of a historical development. It by no means heralds a new musical epoch; it simply offers a fast, reliable and versatile means of solving problems that already demanded solution. The person who writes the computer programme must bear the development of musical language up to the present in mind, and try to advance a stage further.”

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“The danger is great of letting oneself be trapped by the tools and of becoming stuck in the sands of technology that has come like an intruder into the relatively calm waters of the thought in instrumental music.”

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“The characteristics of every sound depend on the way in which the sound was produced. Each art-form exploits its special production methods in order to endow the phenomena with unmistakable characteristics. Artistic economy demands that the means be appropriate to the end, and that the exploitation of the means be an end in itself.”

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“... and the hope of an extraordinary aesthetic success based on extraordinary technology is a cruel deceit.”

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“... the use of numerical machines no longer stands in need of justification. It is not a mystery. If there is a mystery, it is in the mental structures of music and not in the computers, which are only tools, extensions of the hand and the slide rule.”

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“With the development of electronic and computer music, multidemnsionality of sound representation turned out to be both natural and useful. But music goes beyond multidimensionality -- it is even more complex.”

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“... but beware, technique can submerge the user: We must defend ourselves; it is good to use techniques, but we have to dominate them, to stay alert.”

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“The computing machine is a marvelous invention and seems almost superhuman. But in reality it is as limited as the mind of the individual who feeds it material. Like the computer, the machines we use for making music can only give back what we put into them.”

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“Music is then no longer primarily conceived as a guide for premeditated emotions, but as the density of the possible relationships which first become actuality during production under the influence of chance, and which during performance are presented to the listener as sounds beyond any environmental associatiations, independent of bodily actions required to produce sounds...”

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