Papers by Myriam Desainte-Catherine
Revue Francophone Informatique et Musique
Cet article présente l’étude qui a conduit à l’extension du modèle de scénario linéaire du logici... more Cet article présente l’étude qui a conduit à l’extension du modèle de scénario linéaire du logiciel i-score vers un modèle non-linéaire, c’est-à-dire comportant des conditions exprimant des alternatives dépendant de l’exécution du scénario en temps réel. Cette étude s’est déroulée dans le cadre du projet ANR OSSIA. Nous présentons d’abord le modèle temporel initial, les modèles théoriques logico-temporels proposés en début de projet, puis les échanges avec les utilisateurs, et enfin les problèmes à résoudre et le choix final.
HAL (Le Centre pour la Communication Scientifique Directe), 2017
Combiner le temps et les autres dimensions musicales Une première approche Antoine Bonnet « Situa... more Combiner le temps et les autres dimensions musicales Une première approche Antoine Bonnet « Situation : un logiciel de programmation par contraintes pour l'aide a la composition musicale », JIM'94 Bordeaux
HAL (Le Centre pour la Communication Scientifique Directe), May 13, 2013
HAL (Le Centre pour la Communication Scientifique Directe), Oct 17, 2014
HAL is a multidisciplinary open access archive for the deposit and dissemination of scientific re... more HAL is a multidisciplinary open access archive for the deposit and dissemination of scientific research documents, whether they are published or not. The documents may come from teaching and research institutions in France or abroad, or from public or private research centers. L'archive ouverte pluridisciplinaire HAL, est destinée au dépôt et à la diffusion de documents scientifiques de niveau recherche, publiés ou non, émanant des établissements d'enseignement et de recherche français ou étrangers, des laboratoires publics ou privés.
Zenodo (CERN European Organization for Nuclear Research), May 9, 2022
HAL (Le Centre pour la Communication Scientifique Directe), 2012
We describe a system that allows improvisers and composers to construct an interactive musical en... more We describe a system that allows improvisers and composers to construct an interactive musical environment directly from a musical recording. Currently, interactive music pieces require separate phases of constructing generative models and structuring them into a larger compositional plan. In the proposed system we combine machine improvisation tools based on Variable Markov Oracle (VMO) with an interactive score (i-score) to control the improvisation according to larger structures found in that recording. This allows construction of improvisation scenarios in ways that are organic with the musical materials used for generating the music. The method uses new results of audio segmentation based on VMO and translates it into a Petri Net (PN) model with transition rules left open to be defined by a musician. The PN structure is finally translated into a timed representation for a live i-score control.
Proceedings of the SMC Conferences, Jul 30, 2013
The design and implementation of an interactive music system is a difficult task. It necessitates... more The design and implementation of an interactive music system is a difficult task. It necessitates the description of complex interplays between two design layers at least : the real time synchronous layer for audio processing, and at the symbolic event based layer for interaction handling. Tiled programming is a recent proposal that aims at combining with a single metaphor: tiled signals, the distinct programmatic features that are used in these two layers. The libTuiles experiment presented in this paper is a first experimental implementation of such a new design principle.
Proceedings of the SMC Conferences, Sep 14, 2014
The i-score intermedia sequencer allows to design complex interactive scenarios by coordinating h... more The i-score intermedia sequencer allows to design complex interactive scenarios by coordinating heterogeneous and distributed media systems. Based on software frameworks issued by several long-term research iniatives, this application does not produce any media of its own, but rather controls other environments parameters, by creating snapshots and automations, and organizing them in time in a multi-linear way. In this article, we describe the main features of the software, in order to guide the workshop participants towards actual creation of interactive scenarios by controlling their favorite software environment.
Encyclopedia of Computer Graphics and Games, 2019
3D environments provide new possibilities for musical interaction. They allow musicians to manipu... more 3D environments provide new possibilities for musical interaction. They allow musicians to manipulate and visualize large sets of sound processes associated to 3D objects by connecting graphical parameters to sound parameters. Several of these audiovisual mappings can be combined on a single 3D object. However, this brings up the issues of the choice of these mappings and of their combinations. We conducted a user study on sixteen musicians to evaluate audiovisual mappings and their combinations in the context of 3D musical interaction. This user study is composed of three experiments. The first experiment investigates subjects preferences for mappings between four perceptual sound parameters (amplitude, pitch, spectral centroid and noisiness) and ten graphical parameters, some of them specific to 3D environments. The second experiment focuses on efficiency of single mappings in an audiovisual identification task. The results show almost no significant differences, but some tendenci...
Dans les applications d'ecoute active, il est primordial de pouvoir interagir avec les source... more Dans les applications d'ecoute active, il est primordial de pouvoir interagir avec les sources individuelles presentes dans le mix, par exemple en changeant leur position spatiale. Dans cette these, nous avons propose des techniques binaurales pour la localisation et la spatialisation, basees sur les differences interaurales en amplitude et en temps d'arrivee. Les techniques sont developpees dans le plan temps-frequence. Elles permettent de localiser et de projeter toute source dans l'espace environnant un auditeur. aussi nous avons mis au point des techniques de separation binaurale de source basees sur le Maximum de vraisemblance et de masques spatiaux probabilistes. Enfin nous avons etendu les techniques binaurales a des techniques multi-diffusion utilisant un ensemble de haut-parleurs. Les techniques proposees sont eprouvees et comparees a des techniques de reference de la litterature. Pour des performances similaires aux techniques existantes, nos propositions ont u...
111 Generating Orchestral Sequences with Timbral Descriptors Aurélien Antoine1†, Eduardo R. Miran... more 111 Generating Orchestral Sequences with Timbral Descriptors Aurélien Antoine1†, Eduardo R. Miranda1, Jean-Michaël Celerier2, Myriam Desainte-Catherine2 1 Interdisciplinary Centre for Computer Music Research (ICCMR), Plymouth University, Plymouth, United Kingdom 2 Laboratoire Bordelais de Recherche en Informatique (LaBRI), University of Bordeaux, Talence, France † [email protected]
Real-time performance is essential for interactive multi- media applications. However, most of th... more Real-time performance is essential for interactive multi- media applications. However, most of these applications are sequential or they are executed on architectures and operat- ing systems that do not provide a low-latency real-time per- formance. In this paper, we present a solution to this prob- lem, specifically in the interpretation of interactive multime- dia scores. For that, we present a novel parallel implementa- tion of interactive scores on a reconfigurable hardware. We take advantage of the parallelism and reliability provided by Field Programmable Gate Arrays (FPGAS) to perform in real-time the hardware representation of scores. The results of the simulations show that our approach allows the system to react instantaneously to user interactions. Moreover, the real-time constraints of the score are satisfied.
Numeric musical and artistic creation is in great part based on well-known patcher softwares: Max... more Numeric musical and artistic creation is in great part based on well-known patcher softwares: Max, PureData, Open-Music, vvvv… Yet, handling temporal evolutions and structures on large scales remains a central problem: for instance, writing a song with introduction, chorus, verse, chorus, parts in Max presents many hurdles to the composer. Hence, multiple software have introduced tracks and automations to provide a temporal control of a given set of parameters in a single or even multiple concurrent time-lines. We present an extension to the dataflow paradigm used by patchers that allows to handle the execution of any parts of a computation in time. That is, instead of sending control messages to existing patchs, they are run in a time-line which orchestrates the data bindings between different parts of the dataflow. This enables dynamic behaviours when creating temporal compositions. An example is given with Pure Data patches and an i-score scenario.
The development and authoring of interactive music or applications , such as user interfaces for ... more The development and authoring of interactive music or applications , such as user interfaces for arts & exhibitions has traditionally been done with tools that pertain to two broad metaphors. Cue-based environments work by making groups of parameters and sending them to remote devices , while more interactive applications are generally written in generic art-oriented programming environments, such as Max/MSP, Processing or openFrameworks. In this paper, we present the current version of the i-score se-quencer. It is an extensive graphical software that bridges the gap between time-based, logic-based and flow-based interactive application authoring tools. Built upon a few simple and novel primitives that give to the composer the expressive power of structured programming, i-score provides a time line adapted to the notation of parameter-oriented interactive music, and allows temporal scripting using JavaScript. We present the usage of these primitives, as well as an i-score example o...
Journal of New Music Research, 2016
The advances in authoring of interactive scores call for a thorough analysis of the written score... more The advances in authoring of interactive scores call for a thorough analysis of the written scores. A possible way to ensure correctness of an interactive score is through the use of formal techniques such as model checking. In this work, we present a visual model of the inter-media sequencer i-score and we propose a Timed Automata encoding to reason about the interactive scores written in this software. The verification of some properties of interactive scores is presented, along an evaluation of the performance of the model-checking process with UPPAAL.
2015 15th International Conference on Application of Concurrency to System Design, 2015
The temporal control of the execution of multimedia processes is a crucial point for a number of ... more The temporal control of the execution of multimedia processes is a crucial point for a number of application fields. We propose a formalism for authoring multimedia scripts that involves dynamic triggerings. In addition, we propose an abstract machine able to execute these scripts, by adapting the temporal organization of the processes according to the dynamic triggerings. This machine must implement some temporal features such as fast forward or GOTO functionalities. We present some algorithms performing these functionalities. A last, we mention some evaluation by users and possible future works.
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Papers by Myriam Desainte-Catherine