Modern programmable digital signal processing relies on floating-point numbers for their ease of use. Fixed-point number formats have the potential to save resources and improve execution time, but realising this potential burdens the programmer with the need to define each format, at every step of the computation. This article reviews existing methods to automatically determine fixed-point formats, then describes and evaluates the prototype implementation of a... Lire la suite

Modern programmable digital signal processing relies on floating-point numbers for their ease of use. Fixed-point number formats have the potential to save resources and improve execution time, but realising this potential burdens the programmer with the need to define each format, at every step of the computation. This article reviews existing methods to automatically determine fixed-point formats, then describes and evaluates the prototype implementation of automatic fixed-point format determination in the Faust compiler.. Les algorithmes de traitement du signal numérique sont aujourd'hui majoritairement implémentés en utilisant des nombres à virgule flottante, en raison de leur facilité d'utilisation. Les nombres à virgule fixe peuvent permettre d'économiser des ressources et d'accélérer le temps d'exécution, mais leur utilisation fait peser sur le programmeur la charge de définir chaque format utilisé, à chaque étape du calcul. Cet article passe en revue les méthodes existantes pour déterminer automatiquement les formats des nombres à virgule fixe, puis décrit et évalue l'implémentation prototype d'une méthode de détermination des formats à virgule fixe au sein du compilateur Faust.

Web-based spectral processing with the Web Audio API is a challenging task that requires efficient and flexible tools. It involves Fourier transform utilities and frequency-domain data manipulations. In this paper, we present a novel frame- work for designing and running real-time spectral processors on the web, using Faust as the programming language and its web-based toolchain. Our framework is inspired by Max’s pfft~ paradigm, which allows users to create cu... Lire la suite

Web-based spectral processing with the Web Audio API is a challenging task that requires efficient and flexible tools. It involves Fourier transform utilities and frequency-domain data manipulations. In this paper, we present a novel frame- work for designing and running real-time spectral processors on the web, using Faust as the programming language and its web-based toolchain. Our framework is inspired by Max’s pfft~ paradigm, which allows users to create custom spec- tral processors from streamed spectral data. Using Faust language and suitable FFT tools, the designed algorithm can be compiled to WebAssembly modules that are executed in an Audio Worklet. We demonstrate the potential of our framework by showing some examples of spectral effects and synthesizers that can be easily designed and executed on the web.

This paper presents an overview all the new developments and contributions in the FAUST programming language since the 2020 International FAUST Conference. It shows a growing and dynamic community with artistic projects, plugins, standalone applications, integration in audio programming environments, development tools, research projects, embedded devices, Web applications, etc., produced by a large variety of contributors.

We present an online environment for the design of musical scores, also allowing for the embedding of signal processors and hence the publication of electronic works. This environment is part of the INScore project. Its latest version has been transcribed to WebAssembly/Javascript to provide in a web browser the same features as in its native counterpart: the diversity of music representations supported by INScore, the interaction capabilities and all the dynam... Lire la suite

We present an online environment for the design of musical scores, also allowing for the embedding of signal processors and hence the publication of electronic works. This environment is part of the INScore project. Its latest version has been transcribed to WebAssembly/Javascript to provide in a web browser the same features as in its native counterpart: the diversity of music representations supported by INScore, the interaction capabilities and all the dynamic aspects of the score. After some historical elements about distributed musical scores, we will provide some reminders about the INScore project and its associated description language. We will then describe the architecture of the system and the choices made for its portability to the Web. Then, we will present the extensions specific to the Javascript version and in particular the support of signal processing objects. Finally, we will show how INScore's communication system has been extended to allow online musical score control from a native version of INScore, paving the way for real-time performance on the web.

FAUST is a functional programming language for realtime audio digital signal processing. The Faust compiler can generate code in lower-level programming languages such as C, C++, JAVA, LLVM bitcode, WebAssembly, etc. Code generated by the FAUST compiler can be turned into a wide range of objects (e.g., audio plug-ins, smartphone apps, web apps, etc.) for various platforms (e.g., Linux, Windows, MacOS, etc.). By also allowing us to target embedded systems such a... Lire la suite

FAUST is a functional programming language for realtime audio digital signal processing. The Faust compiler can generate code in lower-level programming languages such as C, C++, JAVA, LLVM bitcode, WebAssembly, etc. Code generated by the FAUST compiler can be turned into a wide range of objects (e.g., audio plug-ins, smartphone apps, web apps, etc.) for various platforms (e.g., Linux, Windows, MacOS, etc.). By also allowing us to target embedded systems such as microcontrollers, DSPs, FPGAs, embedded Linux systems, etc. and by providing a set of tools to implement physical models of musical instruments, FAUST is particularly well suited to design hybrid acoustical and digital musical instruments mixing physical and virtual elements. After giving an overview of the aforementioned tools, we demonstrate how they can be used for designing novel hybrid instruments.

SOUL is a new audio Domain Specific Language and a runtime platform developed by ROLI, which aims at modernizing and optimizing the way high-performance and low-latency audio code is written and executed. FAUST is a functional Domain Specific Language specifically designed for real-time audio signal processing. Both approaches share common ideas: sample-level DSP computation, fixed memory and CPU footprints, dynamic JIT compilation, CPU efficiency, multi-target... Lire la suite

SOUL is a new audio Domain Specific Language and a runtime platform developed by ROLI, which aims at modernizing and optimizing the way high-performance and low-latency audio code is written and executed. FAUST is a functional Domain Specific Language specifically designed for real-time audio signal processing. Both approaches share common ideas: sample-level DSP computation, fixed memory and CPU footprints, dynamic JIT compilation, CPU efficiency, multi-targets deployment (native and embedded platforms, up to the Web). This paper presents a work in progress done around the idea of hybridizing FAUST with SOUL.

FPGAs are increasingly present in every field of computer science. The generalization of High Level Synthesis (HLS) improves the productivity of the FPGA programmer. However, even with HLS, FPGA configuration requires advanced engineering. This paper investigates the use of FPGA in the context of very low latency (less than 500µs) audio digital signal processing. We propose a methodology to compile FAUST programs on FPGA platforms towards ultra-low latency. We... Lire la suite

FPGAs are increasingly present in every field of computer science. The generalization of High Level Synthesis (HLS) improves the productivity of the FPGA programmer. However, even with HLS, FPGA configuration requires advanced engineering. This paper investigates the use of FPGA in the context of very low latency (less than 500µs) audio digital signal processing. We propose a methodology to compile FAUST programs on FPGA platforms towards ultra-low latency. We expose the challenges it raises and report about the first steps of a future faust2FPGA compiler.

Faust has been targeting an increasing number of embedded platforms for real-time audio signal processing applications in recent years. It can now be used to program microcontrollers, mobile platforms, embedded Linux systems, Digital Signal Processors (DSPs), and more. This paper gives an overview of existing targets, presents ongoing research, and gives potential avenues for future developments in this field.

The Faust compiler relies on several intermediate representationsto translate a Faust program. One step, in particular, consists ofmoving from a functional representation of computations on infi-nite signals to an imperative (stateful) representation of computa-tions on samples. This translation phase is complex, as it combinesthe recursive tree traversal, the division of the computations intoinstructions, the scheduling, and the code generation. As a result,th... Lire la suite

The Faust compiler relies on several intermediate representationsto translate a Faust program. One step, in particular, consists ofmoving from a functional representation of computations on infi-nite signals to an imperative (stateful) representation of computa-tions on samples. This translation phase is complex, as it combinesthe recursive tree traversal, the division of the computations intoinstructions, the scheduling, and the code generation. As a result,the implementation of new code generation strategies is difficult toachieve.In this paper, we propose a new intermediate representation inthe form of a graph whose nodes represent computations on infinitesignals and the edges time dependencies between these computa-tions. The graph structure makes it much easier to handle recursivedependencies as well as to experiment with all kinds of schedul-ing strategies. We will present several of them whose performancehave been tested with the examples of the Faust distribution. Per-formance gains can sometimes be quite significant compared to thecurrent compiler.

The development and porting of virtual instruments or audio effects on the Web is a hot topic. Several initiatives are emerging, from industry-driven ones (e.g., Propellerhead Rack Extension running on the Web2), to more community based open-source projects. Most of them aim at adapting existing code bases (usually developed in native languages like C/C++) as well as facilitating the use of existing audio Digital Signal Processing (DSP) languages and platforms.... Lire la suite

The development and porting of virtual instruments or audio effects on the Web is a hot topic. Several initiatives are emerging, from industry-driven ones (e.g., Propellerhead Rack Extension running on the Web2), to more community based open-source projects. Most of them aim at adapting existing code bases (usually developed in native languages like C/C++) as well as facilitating the use of existing audio Digital Signal Processing (DSP) languages and platforms. Our two teams previously presented an open format for WebAudio Plugins coined WAP [2]. It aims at: (i) improving the interoperability of audio/MIDI plugins developed using pure Web APIs, (ii) porting existing native code bases, or (iii) using Domain Specific Languages (DSL). In this paper, we present a solution based around FAUST DSL, its Web-based editor, and the integration of a plugin GUI editor allowing to directly test, generate and deploy WAP plugins. We also evoke our collaborative work: one team hatching and improving FAUST, the other working on the recreation of tube guitar amplifiers and pedalboards within Web browsers. So as to fully illustrate the FAUST online framework, a case study is detailed with complete workflow, from the FAUST DSP source code written and tested in a fully functional online editor, to a self-contained plugin running in a separate host application.

In 2018, with a group of researchers and developers (some of whom are members of the W3C WebAudio WG) we proposed a WebAudio Plugin standard (WAP) and gave birth to a growing ecosystem for the development of computer music applications in the browser [1]. These plugins can be seen as a transposition of what exists in the native world, adapted to be web-aware (i.e. a plugin can be remotely included in any host web audio application by a URI). Since then, many co... Lire la suite

In 2018, with a group of researchers and developers (some of whom are members of the W3C WebAudio WG) we proposed a WebAudio Plugin standard (WAP) and gave birth to a growing ecosystem for the development of computer music applications in the browser [1]. These plugins can be seen as a transposition of what exists in the native world, adapted to be web-aware (i.e. a plugin can be remotely included in any host web audio application by a URI). Since then, many contributions have been made and many plugins have been developed. Not only several "host" applications have appeared, including commercial ones, but also tools to help developers, including an online IDE coded as a Progressive Web App (PWA) to write and publish plugins from A to Z, the audio DSP core of the plugins being compiled into WebAssembly. Some of the plugins we developed during the French research project WASABI are now sold as add-ons to an online Digital Audio Workstation (Amped Studio), showing the new opportunities that these emerging APIs have created.

The slow but steady shift away from printed text into digital media has not yet modified the working habits of chamber music practitioners. If most instrumentalists still heavily rely on printed scores, audiences increasingly access notated music online, with printed scores synced to an audio recording on youtube for instance. This paper proposes to guide the listener and/or the performer with a cursor scrolling on the page with INScore, in order to examine the... Lire la suite

The slow but steady shift away from printed text into digital media has not yet modified the working habits of chamber music practitioners. If most instrumentalists still heavily rely on printed scores, audiences increasingly access notated music online, with printed scores synced to an audio recording on youtube for instance. This paper proposes to guide the listener and/or the performer with a cursor scrolling on the page with INScore, in order to examine the consequences of representing time in this way as opposed to traditional bars and beats notation. In addition to its score following interest for pedagogy and analysis, the networking possibilities of today's ubiquitous technologies reveal interesting potentials for works in which the presence of a conductor is required for synchronization between performers and/or with fixed media (film or tape). A Raspberry Pi-embedded prototype for animated/distributed notation is presented here as a score player (such as the Decibel ScorePlayer, or SmartVox), in order to send and synchronize mp4 scores to any browser capable device connected to the same WIFI network. The corpus will concern pieces edited at BabelScores, an online library for contemporary classical music. The BabelScores pdf works, composed in standard engraving softwares, will be animated using INScore and video editors, in order to find strategies for animation or dynamic display of the unfolding of time, originally represented statically on the page.. L'abandon lent mais certain du texte imprimé au profit des médias numériques n'a pas encore modifié les habitudes de travail des instrumentistes en musique de chambre. Si la plupart s'appuie encore fortement sur les partitions imprimées, le public a de plus en plus accès aux partitions en ligne, synchronisées sur un enregistrement audio sur youtube par exemple. Cet article propose de guider l'auditeur et/ou l'interprète à l'aide d'un curseur défilant sur la page (avec INScore), afin d'examiner ce qu'implique de représenter le temps de cette manière, par opposition à la notation traditionnelle des mesures rythmiques du solfège. Outre son intérêt pour la pédagogie et l'analyse, les possibilités de mise en réseau des technologies omniprésentes d'aujourd'hui révèlent des potentiels intéressants pour des œuvres dans lesquelles la présence d'un chef d'orchestre est requise pour la synchronisation entre interprètes et/ou avec des supports fixes (film ou bande). Un prototype pour la notation animée/distribuée intégré sur Raspberry Pi est présenté ici comme lecteur de partition (tel que le Decibel ScorePlayer ou SmartVox), afin d’envoyer et de synchroniser les partitions mp4 à n’importe quel appareil compatible avec un navigateur connecté au même réseau WIFI. Le corpus concernera des pièces éditées sur BabelScores, une bibliothèque en ligne de musique classique contemporaine. Les œuvres pdf de BabelScores, composées de logiciels de gravure standard, seront animées à l'aide d'éditeurs INScore et vidéo, afin de trouver des stratégies d'animation ou d'affichage dynamique du déroulement du temps, initialement représentées de manière statique sur la page.

The presented work is part of the INScore project, an environment for the design of augmented interactive music scores, oriented towards unconven-tional uses of music notation and representation, including real-time symbolic notation capabilities. This environment is fully controllable using Open Sound Control [OSC] messages. INScore scripting language is an extended textual version of OSC messages that allows you to design scores in a modular and incre-mental... Lire la suite

The presented work is part of the INScore project, an environment for the design of augmented interactive music scores, oriented towards unconven-tional uses of music notation and representation, including real-time symbolic notation capabilities. This environment is fully controllable using Open Sound Control [OSC] messages. INScore scripting language is an extended textual version of OSC messages that allows you to design scores in a modular and incre-mental way. This article presents a major revision of this language, based on the description and manipulation of trees.

Le travail présenté s’inscrit dans le projet INScore, un environnement pour la conception de partition interactives augmentées, tourné vers des usages non conventionnels de la notation et de la représentation de la musique, sans exclure pour autant les approches classiques. Cet environnement est entièrement pilotable par des messages Open Sound Control [OSC]. Un langage de script, basé sur une version textuelle étendue de ces messages permet de concevoir des pa... Lire la suite

Le travail présenté s’inscrit dans le projet INScore, un environnement pour la conception de partition interactives augmentées, tourné vers des usages non conventionnels de la notation et de la représentation de la musique, sans exclure pour autant les approches classiques. Cet environnement est entièrement pilotable par des messages Open Sound Control [OSC]. Un langage de script, basé sur une version textuelle étendue de ces messages permet de concevoir des partitions sous forme modulaire et incrémentale. Cet article présente une révision majeure de ce langage de script, fondée sur la description et la manipulation d’arbres.

Several native audio plug-in formats are popular today including Steinberg's VST, Apple's Audio Units, Avid's AAX and the Linux audio community's LV2. Although the APIs are different, all exist to achieve more or less the same thing-represent an instrument or audio effect and allow it to be loaded by a host application. In the Web Audio API such a high-level audio plug-in entity does not exist. With the emergence of web-based audio software such as digital audi... Lire la suite

Several native audio plug-in formats are popular today including Steinberg's VST, Apple's Audio Units, Avid's AAX and the Linux audio community's LV2. Although the APIs are different, all exist to achieve more or less the same thing-represent an instrument or audio effect and allow it to be loaded by a host application. In the Web Audio API such a high-level audio plug-in entity does not exist. With the emergence of web-based audio software such as digital audio workstations (DAWs), it is desirable to have a standard in order to make Web Audio instruments and effects interoperable. Since there are many ways of developing for Web Audio, such a standard should be flexible enough to support different approaches, including using a variety of programming languages. New functionality that is enabled by the web platform should be available to plug-ins written in different ways. To this end, several groups of developers came together to make their work compatible, and this paper presents the work achieved so far. This includes the development of a draft API specification, a small preliminary SDK, online plug-in validators and a set of examples written in JavaScript. These simple, proof of concept examples show how to discover plug-ins from repositories, how to instantiate a plug-in and how to connect plug-ins together. A more ambitious host has also been developed to validate the WAP standard: a virtual guitar "pedal board" that discovers plug-ins from multiple remote repositories, and allows the musician to chain pedals and control them via MIDI.

Web Audio is a recent W3C API that brings the world of computer music applications to the browser. Although developers have been actively using it since the first beta implementations in 2012, the number of web apps built using Web Audio API cannot yet compare to the number of commercial and open source audio software tools available on native platforms. Many of the sites using this new technology are of an experimental nature or are very limited in their scope... Lire la suite

Web Audio is a recent W3C API that brings the world of computer music applications to the browser. Although developers have been actively using it since the first beta implementations in 2012, the number of web apps built using Web Audio API cannot yet compare to the number of commercial and open source audio software tools available on native platforms. Many of the sites using this new technology are of an experimental nature or are very limited in their scope. While JavaScript and Web standards are increasingly flexible and powerful, C and C++ are the languages most often used for real-time audio applications and domain specific languages such as FAUST facilitate rapid development with high performance. Our work aims to create a continuum between native and browser based audio app development and to appeal to programmers from both worlds. This paper presents our proposal including guidelines and proof of concept implementations for an open Web Audio plug-in standard-essentially the infrastructure to support high level audio plug-ins for the browser.

Finite Element Analyses (FEA) was used to predict the resonant modes of the Tsar Kolokol, a 200 ton fractured bell that sits outside the Kremlin in Moscow. Frequency and displacement data informed a physical model implemented in the Faust programming language (Functional Audio Stream). The authors hosted a concert for Tsar bell and Carillon with the generous support of Meyer Sound and a University of Michigan bicentennial grant. In the concert, the simulated Ts... Lire la suite

Finite Element Analyses (FEA) was used to predict the resonant modes of the Tsar Kolokol, a 200 ton fractured bell that sits outside the Kremlin in Moscow. Frequency and displacement data informed a physical model implemented in the Faust programming language (Functional Audio Stream). The authors hosted a concert for Tsar bell and Carillon with the generous support of Meyer Sound and a University of Michigan bicentennial grant. In the concert, the simulated Tsar bell was triggered by the keyboard and perceptually fused with the bourdon of the Baird Carillon on the University of Michigan campus in Ann Arbor.

This paper describes the new Faust building system that is now based on CMake. This new building system preserves the previous Makefile approach as much as possible while offering far more flexibility and above all, a platform independent solution for compiling the various faust components. The paper gives practical information to address basic uses of the building system as well as for advanced and custom settings.

This paper demonstrates how FAUST, a functional programming language for sound synthesis and audio processing, can be used to develop efficient audio code for the Web. After a brief overview of the language, its compiler and the architecture system allowing to deploy the same program as a variety of targets, the generation of WebAssembly code and the deployment of specialized WebAudio nodes will be explained. Several use cases will be presented. Extensive bench... Lire la suite

This paper demonstrates how FAUST, a functional programming language for sound synthesis and audio processing, can be used to develop efficient audio code for the Web. After a brief overview of the language, its compiler and the architecture system allowing to deploy the same program as a variety of targets, the generation of WebAssembly code and the deployment of specialized WebAudio nodes will be explained. Several use cases will be presented. Extensive benchmarks to compare the performance of native and WebAssembly versions of the same set of DSP have be done and will be commented

The FAUST language has been designed to provide developers an alternative to C/C++ code, to easily develop and deploy DSP algorithms, effects, instruments etc. The ecosystem is composed of the language and its compiler, as well as different components that help test, benchmark and optimize, and run the resulting code on a large variety of platforms. In this paper we present various architectures files, optimization and testing tools, that have been developed ov... Lire la suite

The FAUST language has been designed to provide developers an alternative to C/C++ code, to easily develop and deploy DSP algorithms, effects, instruments etc. The ecosystem is composed of the language and its compiler, as well as different components that help test, benchmark and optimize, and run the resulting code on a large variety of platforms. In this paper we present various architectures files, optimization and testing tools, that have been developed over the years as part of the FAUST ecosystem, in order to expand the use of the compiler on various targets, and help developers optimize their DSP code. Some of them were publicly announced and can help when deploying DSPs, some are more experimental to be tested by more adventurous developers.

Predicting the acoustics of objects from computational models is of interest to instrument designers who increasingly use Computer Assisted Design. We examine techniques to carry out these estimates using a database of impulse responses from 3D printed models and a custom algorithm for mode interpolation within a geometrical matrix. Test geometries are organized as a function of their physical characteristics and placed into a multidimensional space/matrix whos... Lire la suite

Predicting the acoustics of objects from computational models is of interest to instrument designers who increasingly use Computer Assisted Design. We examine techniques to carry out these estimates using a database of impulse responses from 3D printed models and a custom algorithm for mode interpolation within a geometrical matrix. Test geometries are organized as a function of their physical characteristics and placed into a multidimensional space/matrix whose boundaries are defined by the objects at each corner. Finite Element Analyses is integrated into the open-source CAD environment to provide estimates of material vibrations also compared to measurements on the fabricated counterparts. Finally, predicted parameters inform physical models for aural comparisons between fabricated targets and computational estimates. These hybrid methods are reliable for predicting early modes as they covary with changes in scale and shape in our test matrix.

Conçu et utilisé pour des applications de synthèse et de traitement du son ou de lutherie numérique sur scène, le langage de programmation Faust, développé au centre national de création musicale GRAME, est désormais enseigné dans plusieurs universités dans le monde, en particulier au Center for Computer Research in Music and Acoustics de l’université Stanford.

Finite Element Analyses (FEA) was used to predict the resonant modes of the Tsar Kolokol, a 200 ton fractured bell that sits outside the Kremlin in Moscow. Frequency and displacement data informed a physical model implemented in the Faust programming language (Functional Audio Stream). The authors hosted a concert for Tsar bell and Carillon with the generous support of Meyer Sound and a University of Michigan bicentennial grant. In the concert, the simulated Ts... Lire la suite

Finite Element Analyses (FEA) was used to predict the resonant modes of the Tsar Kolokol, a 200 ton fractured bell that sits outside the Kremlin in Moscow. Frequency and displacement data informed a physical model implemented in the Faust programming language (Functional Audio Stream). The authors hosted a concert for Tsar bell and Carillon with the generous support of Meyer Sound and a University of Michigan bicentennial grant. In the concert, the simulated Tsar bell was triggered by the keyboard and perceptually fused with the bourdon of the Baird Carillon on the University of Michigan campus in Ann Arbor.

In this paper, we present faust2smartkeyb, a tool to create musical apps for Android and iOS using the FAUST programming language. The use of musical instrument physical models in this context through the FAUST Physical Modeling Library is emphasized. We also demonstrate how this system allows for the design of interfaces facilitating skills transfer from existing musical instruments.

This paper introduces the FAUST Physical Modeling Library, an environment to create physical models of musical instruments in a modular way in the FAUST programming language. Low and high level elements can be combined to implement existing or completely novel instruments. Various examples of physical models are provided. The combined use of mesh2faust, a tool to generate FAUST physical models from 3D drawings, and of the FAUST Physical Modeling Library is also... Lire la suite

This paper introduces the FAUST Physical Modeling Library, an environment to create physical models of musical instruments in a modular way in the FAUST programming language. Low and high level elements can be combined to implement existing or completely novel instruments. Various examples of physical models are provided. The combined use of mesh2faust, a tool to generate FAUST physical models from 3D drawings, and of the FAUST Physical Modeling Library is also demonstrated through the implementation of a marimba physical model.

INScore is an environment for augmented interactive music score design, oriented towards unconventional uses of music notation, without excluding conventional approaches. In this environment, although all the objects of a score have a temporal dimension, the time remains fixed i.e., the date (or duration) of an object does not change, except when a message is received (sent from an external application or resulting from events handling). Thus, INScore does not... Lire la suite

INScore is an environment for augmented interactive music score design, oriented towards unconventional uses of music notation, without excluding conventional approaches. In this environment, although all the objects of a score have a temporal dimension, the time remains fixed i.e., the date (or duration) of an object does not change, except when a message is received (sent from an external application or resulting from events handling). Thus, INScore does not include a time manager in the classic sense of the term. This choice was based on the fact that the system was originally designed to be used with sound production software (e.g., Max/MSP, Pure Data), that have more strict real-time constraints than INScore's graphical environment. However, the need to introduce dynamic time has gradually emerged, leading to an original model, both continuous and event based. The paper presents this model and its properties in the frame on INScore.

INScore est un environnement pour la conception de partition interactives augmentées, tourné vers des usages non conventionnels de la notation musicale, sans exclure pour autant les approches classiques. Dans cet environnement, bien que tous les objets de la partition aient une dimension temporelle, le temps reste fixe i.e. que la date (ou la durée) d'un objet ne change pas, sauf à réception d'un message qui ne peut être produit que de manière externe ou événem... Lire la suite

INScore est un environnement pour la conception de partition interactives augmentées, tourné vers des usages non conventionnels de la notation musicale, sans exclure pour autant les approches classiques. Dans cet environnement, bien que tous les objets de la partition aient une dimension temporelle, le temps reste fixe i.e. que la date (ou la durée) d'un objet ne change pas, sauf à réception d'un message qui ne peut être produit que de manière externe ou événementielle. INScore n'inclut donc pas de gestionnaire du temps au sens classique du terme. A l'origine, ce choix a été dicté par le fait que le système fut conçu pour des usages couplés avec des logiciels de production sonore (e.g. Max/MSP, Pure Data), qui ont des contraintes de temps-réel plus strictes que lénvironnement graphique d'INScore. Toutefois, la nécessité d'introduire un temps dynamique a progressivement émergé, conduisant à un modèle original, à la fois événementiel et continu. Cést ce modèle qui est présenté et ses propriétés dans lénvironnement d'INScore.