forth inside a track or if it is changed between tracks.
Moreover, tracks are polyphonic. The main advantage in
this approach is that all kinds of object can be superimposed
in complex configurations and yet all events remain visually
close to one another. Figure 5 shows an example of this: in
track one, for instance, two figures appear over a set of samples. Local sound agglomerations are easily tracked at a quick
glance, since the materials can be arranged as if they were in
a score, overcoming the usual multi-track distribution constraints. As a metaphor for score staffs, tracks may be used
precisely as a compositional tool, helping the composer to arrange the polyphonic stratification of his material in a more
systematic way.,II^J-T Ljgl L ij_____|................................................... ..................................................
-...............................
Iii |o i | i i..=---------i \|,..........................................................................................................................................................
---- ---------------00 1125:........---- ------------------- ------- ------I------------- ------------- ---
--- --- -- --- - --- -- --- -- --- --
-- - - - - -- - - - - - -- - - - - - -- - - -w - - - - - - ---........ - - ----- -............
-- - - - - -T - - - - - - -- - - - - - -- - - - - - - -- - - - - - -- - - - - - -- - - - - - -- - - k - - -- - - - - - -
$ý:: ' --i --------------- ----- -:---------- - ---------
- ------- ----------------------- ----------- ---- ---------------7
--------------------------------------------....----------i--------------i------------- -----------------
-- -- -- -- -- - -- -- -- -- - -- -- -- -- - -- -- -- -- - -- -- -- -- -- -- - -- - - -- -- -- - -- -- -- -- - -- -- -- -- - -- -- -- -- - -- -- -- -- - -- - -- -- - -- -- ---- -
------------------------ -----------------
------------------- ---------- ---------------i--------------
Detailed documentation on these subjects is being prepared.
6 Acknowledgments
I should like to thank my supervisor, Horacio Vaggione,
for the advice and continued support. I would like also to
thank Christopher Bochmann for reviewing the draft of this
article.
This research is supported by "FCT e FSE no ambito do
III Quadro Comunitario de Apoio".
References
Caires, C. (2003). Vers une 6criture des processus de micromontage. In Jornees d'Informatique Musicale, Montbeliard.
Roads, C. (2001). Microsound. Cambridge, Mass.; London: MIT
Press.
Schilingi, J. B. (1998). Morphologie et structures musicales. In
Documentation (Ed.), Fonctions d'analyse, de reconnaissance, de classification et de reconstitution de sequences
symboliques et numeriques. Paris: IRCAM.
Vaggione, H. (1995). Objets, representations, operations. Ars
Sonora 2, 33-51.
Vaggione, H. (1996). Vers une approche transformationnelle en
cao. In C.-U. d. C. Les cahiers du GREYC (Ed.), Journees
d'Informatique Musicale 1996.
Vaggione, H. (2002a). Composition musicale et moyens informatiques: questions d'approche. In Formel Informel, pp. 99 -117. Paris: L'Harmattan.
Vaggione, H. (2002b). Decorrelation microtemporelle, morphologies et figures spatiales. In ADERIM-GMEM (Ed.),
Journees d'Informatique Musicale 2002, Marseille.
Zicarelli, D. (1998). An extensible real-time signal processing environement for max. In International Computer Music Conference. University of Michigan - Ann Arbor.
Figure 5: Timeline window.
Finally, Timeline includes two extra tracks: a Sound file
track and a MIDI track. Once included in the Timeline window, they are played along with the contents of the upper
tracks. MIDI track provides a limited representation of score
notation where all midi channels, represented by different
colours, become merged into a four staff score.
5 Discussion
The set of available object transforms is being extended to
include more advanced operations than those included in this
version. It is important to mention that since all data concerning Sample, Figure, Meso-structure or track, is stored inside
Max coll objects with specific labels, it is relatively easy for
experienced MAX users to develop custom functions, making them available to IRIN. For whoever may be interested,
it is also possible to implement global post audio treatment
to each track, simply by intercepting the audio running inside IRIN. This can be achieved using Max send and receive
objects.
Proceedings ICMC 2004
