Différences

Cette page vous donne les différences entre la révision choisie et la version actuelle de la page.

--- antescofo:videos [2012/07/18 12:08]
Arshia Cont
+++ antescofo:videos [2018/10/26 23:43] (Version actuelle)
Jean-Louis Giavitto [Automatic Accompaniment with Antescofo]
@@ Ligne 4: / Ligne 4: @@
 ====== Documentary on Antescofo ======
-{{dailymotion>xs2yv7_antescofo_creation?720x480 | Documentary on Antescofo}} \\
+<html><iframe frameborder="0" width="480" height="270" src="http://www.dailymotion.com/embed/video/xs2yv7" allowfullscreen></iframe><br /></html>
 A documentary movie on [[:Antescofo]] produced by [[http://www.inria.fr/|Inria]] and Pierre-Olivier Gaumin, describing how the system works and featuring three world premier pieces using Antescofo by composer Philippe Manoury, Ichiro Nodaira and Marco Stroppa.
-====== Antescofo in Action ======
+====== Automatic Accompaniment with Antescofo ======
+<html><iframe width="480" height="270" src="https://www.youtube.com/embed/gsYhDp2VXMo" frameborder="0" allowfullscreen></iframe></html>
+<html><iframe frameborder="0" width="480" height="270" align="right" src="http://www.dailymotion.com/embed/video/x118qwb" allowfullscreen></iframe></html>
-{{youtube>iN9MmiSlBj0?360x300 | Automatic Accompaniment}} \\
+<html><iframe width="480" height="270" align="left" src="http://www.youtube.com/embed/iN9MmiSlBj0" frameborder="0" allowfullscreen></iframe></html>
+<html><iframe frameborder="0" width="480" height="270" align="right"  src="http://www.youtube.com/embed/A97lFbnqQRo?rel=0" allowfullscreen></iframe></html>
+====== Computer Music Composition Samples with Antescofo ======
+<html><iframe frameborder="0" width="420" height="315" align="right" src="http://www.dailymotion.com/embed/video/xrt38h" allowfullscreen></iframe></html>
+<html><iframe width="420" height="315" src="//www.youtube.com/embed/CQ1pQNy5XJk" frameborder="0" allowfullscreen></iframe></html>
-{{youtube>9pnlyluFYWY&amp;?360x300 | Mixed Instrumental and Live Electronics}} \\
+<html><iframe width="420" height="315" src="//www.youtube.com/embed/HSab_znc_y8" frameborder="0" allowfullscreen>&lt;/iframe></html>;
+<html><iframe src="https://player.vimeo.com/video/123960703" align="right" width="420" height="315" frameborder="0" webkitallowfullscreen mozallowfullscreen allowfullscreen></iframe></html>
-{{youtube>HSab_znc_y8?360x300 | Boulez' Anthemes II}} \\
+<html><iframe width="420" height="315" src="https://www.youtube.com/embed/1AplZg4k4G0" frameborder="0" allowfullscreen></iframe></html>
 ====== Documentaries Featuring Antescofo ======
-{{dailymotion>xh2sau_music?240x198 | Images d'une oeuvre n°10 : Tensio de Philippe Manoury}}
-{{ dailymotion>xg0pjj_creation?240x198| Images d'une œuvre n° 7 : L'« électronique de chambre » de Marco Stroppa}}
+<html><iframe width="240" height="198" align="left" src="//www.dailymotion.com/embed/video/xh2sau" frameborder="0" allowfullscreen></iframe></html>
-{{ dailymotion>xnnhxz_gilbert-amy-thomas-goepfer-cors-et-cris_creation?240x198 | Écrire Cors et cris: Gilbert Amy, Thomas Goepfer]]}}
+<html><iframe width="240" height="198" align="right" src="//www.dailymotion.com/embed/video/xg0pjj" frameborder="0" allowfullscreen></iframe></html>
+<html><iframe width="240" height="198" align="right" src="//www.dailymotion.com/embed/video/xnnhxz" frameborder="0" allowfullscreen></iframe></html>
 ====== Lectures on Antescofo ======
-{{dailymotion>ximb3t_musical-synchrony-par-arshia-cont_creation?240x198 |Antescofo lecture for general computer science audience in October 2010}}
+<html><iframe width="240" height="198" align="right" src="//www.dailymotion.com/embed/video/ximb3t" frameborder="0" allowfullscreen></iframe></html>
 A general lecture on //musical synchrony// and [[:Antescofo]], during [[http://idea.ed.ac.uk/future/|7 Keys to the Digital Future]] lectures series curated by Prof. [[http://www-sop.inria.fr/members/Gerard.Berry/|Gérard Berry]] of [[http://www.college-de-france.fr/|Collège de France]] and co-organized by [[http://www.royalsoced.org.uk/|The Royal Society of Edinburgh]].
@@ Ligne 40: / Ligne 46: @@
 ====== Score Following History in Video ======
 This page documents the evolution of [[:score-following|Score Following]] at Ircam since 1983, focusing on its artistic use since its inception. The order is reversed chronologically:
-===== Synchronous Realtime Programming =====
+==== Synchronous Realtime Programming ====
-{{youtube>9pnlyluFYWY&amp;?240x198 |Antescofo as a realtime synchronous programming for computer music}}
+<html>&lt;iframe width="240" height="198" align="left" src="//www.youtube.com/embed/9pnlyluFYWY?rel=0" frameborder="0" allowfullscreen></iframe></html>
-Given the robustness of [[:Antescofo]] live detection, the musical goals of such systems became more and more explicit. This led to the extension of score following paradigm to [[:synchrone|Synchronous Programming]]. Electronic events are now polyphonic programs, running concurrently and in parallel to the performer, and written in relative time. The attempt is thus to bridge the gap between the //performative// and //compositional// aspects of computer music. [[:Antescofo]]'s synchronous programming language has since evolved to address more composers' demands.
+Following relative robustness of [[:Antescofo]] in live detection, the musical goals of such systems became more and more explicit. This led to the extension of score following paradigm to [[:synchrone|Synchronous Programming]]. Electronic events are now polyphonic programs, running concurrently and in parallel to the performer, and written in relative time. The attempt is thus to bridge the gap between the //performative// and //compositional// aspects of computer music. [[:Antescofo]]'s synchronous programming language has since evolved to address more composers' demands.
-===== Anticipatory Score Following =====
+==== Anticipatory Score Following ====
-{{youtube>HSab_znc_y8?240x198 }}
+<html><iframe width="240" height="198" align="left" src="//www.youtube.com/embed/HSab_znc_y8?rel=0" frameborder="0" allowfullscreen></iframe></html>
 The //musical// and //scientific// goals of score following are different. The scientific one requires exact alignment whereas the musical one demands access to live interpretation parameters to undertake electronic actions synchronous to live performers. In late 2007, in collaboration with composer Marco Stroppa, score following moved to an ''anticipatory'' paradigm, decoding both position and tempo in realtime; and anticipating performance parameters as musicians do. These considerations led to the development of [[:Antescofo]], which has become the standard score following platform in many pieces involving live electronics.
-===== Probabilistic Days =====
+==== Probabilistic Days ====
-{{youtube>q55Okme1vTc?240x198 }}
+<html><iframe width="240" height="198" align="left" src="//www.youtube.com/embed/q55Okme1vTc?rel=0" frameborder="0" allowfullscreen></iframe></html>
 Late 1990s saw the advent of probabilistic methods for speech and audio processing. An ideal score follower should take into account uncertainties due to performance or machine perception, thus favoring probabilistic methods for robustness. This led to a new generation of score followers based on Hidden Markov Models (HMMs), started in 2000 at Ircam by Nicola Orio and Diemo Schwarz and led to //suivi~// module, enhanced with an artificial training system. This system was first employed in a concert situation in 2005 for a performance of Pierre Boulez' piece //...explosante fixe...// for flute, orchestra and electronics.
-===== Pitch Days =====
+==== Pitch Days ====
-{{youtube>A-MHLFjYgag?240x198 }}
+<html><iframe width="240" height="198" align="left" src="//www.youtube.com/embed/A-MHLFjYgag?rel=0" frameborder="0" allowfullscreen></iframe></html>
-With the advent of dedicated audio processing hardware modules (such as 4X and ISPW at Ircam), the first ''pitch-based'' score followers emerged out, this time taking audio as input and following pitches in the music score. Many early real-time electronic pieces used this technology for performances of live electronics with musicians playing a music score. A historical example of this development is Philippe Manoury's //Jupiter// for flute and live electronics composed originally for MIDI flute and ported for audio in 1992, and ''En Echo'' for voice and live electronics. //Jupiter// is probably the first realtime piece composed in MaxMSP.
+<html><iframe width="240" height="198" align="right" src="//www.youtube.com/embed/VHPV6kxOcb0?rel=0" frameborder="0" allowfullscreen></iframe></html>
+With the advent of dedicated audio processing hardware modules (such as 4X and ISPW at Ircam), the first ''pitch-based'' score followers emerged out, this time taking audio as input and following pitches in the music score. Many early real-time electronic pieces used this technology for performances of live electronics with musicians playing a music score. A historical example of this development is Philippe Manoury's //Jupiter// for flute and live electronics composed originally for MIDI flute and ported for audio in 1992, and ''En Echo'' for voice and live electronics (left video). //Jupiter// is considered the first realtime piece composed in MaxMSP.
+The video on right shows the natural big step from this paradigm using ''stochastic methods'' pioneered by Dannenberg and Grubb in Carnegie Melon.
-===== MIDI Days =====
+==== MIDI Days ====
-{{youtube>NWxX7tP3Z3A?240x198 }}
+<html><iframe width="240" height="198" align="left" src="//www.youtube.com/embed/NWxX7tP3Z3A?rel=0" frameborder="0" allowfullscreen></iframe></html>
 With the advent of MIDI standard in the 1980s and its integration within commercial musical instruments, score followers were adapted to accept symbolic inputs in MIDI format. Many early musical examples of score following used the MIDI version. A historical musical example of this development is Philippe Manoury's //Pluton// for Piano and Live electronics. Today we tend to use polyphonic score followers directly using live audio for such setups.
-===== Early Days =====
+==== Early Days ====
-{{youtube>vOYky8MmrEU?240x198 }}
-Score Following research was initiated at Ircam by Barry Vercoe in 1983, and also by Roger Dannenberg at CMU. Due to computing limitations at the time, the technology was limited to symbolic inputs from the musician rather than audio. In the case of Vercoe's //synthetic performer//, Larry Beauregard (the flutist of the Ensemble Intercontemporain) setup sensors on his instruments at IRCAM to provide symbolic inputs to the machine. Vercoe and Puckette extended their //synthetic performer// by making it train itself to a performance.
+<html><iframe width="240" height="198" align="left" src="//www.youtube.com/embed/vOYky8MmrEU?rel=0" frameborder="0" allowfullscreen></iframe></html>
+<html><iframe width="240" height="198" align="right" src="//www.youtube.com/embed/RnjoxwY3RfA?rel=0" frameborder="0" allowfullscreen></iframe></html>
+Score Following research was initiated at Ircam by Barry Vercoe in 1983, and also by Roger Dannenberg at CMU. Due to computing limitations at the time, inputs were monophonic. In the case of Vercoe's synthetic performer (video on the left), Larry Beauregard (the flutist of the Ensemble Intercontemporain) set up sensors on his instruments at IRCAM to provide symbolic inputs to the machine to enhance audio pitch detection based on a filter bank. Dannenberg shows his software from 1985 (right) on a Commodore Amiga, where an external device from IVL Technology converts monophonic audio to MIDI. Notice the output is able to jump both forwards and backwards in the score to synchronize in extreme cases.