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bresson [2019/02/01 12:50]
Jean Bresson [— Events and recent activities]
bresson [2019/04/13 16:13] (Version actuelle)
Jean Bresson
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 **Jean Bresson**\\ **Jean Bresson**\\
 Chargé de recherche et développement HDR\\ Chargé de recherche et développement HDR\\
-Institut de Recherche et Coordination Acoustique / Musique, Paris\\+/* Institut de Recherche et Coordination Acoustique / Musique, Paris\\ */
 UMR Science et Technologies de la Musique et du Son (STMS)\\ UMR Science et Technologies de la Musique et du Son (STMS)\\
-IRCAM – CNRS – Université Pierre et Marie Curie / Sorbonne Université+IRCAM – CNRS – Sorbonne Université
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-Since it was founded in 1992 the Music Representations team attempted to build a coherent research thread  called **Computer-Aided Composition** (or **Computer Assisted Composition** / CAC) emphasizing the concept of //"writing"// in computer music systems. +
-(("Écriture" — a hardly translatable French term which is the union of instrumental score writing and musical thought in general. \\  +
-<hidden onHidden="... more on CAC [...]" onVisible="... more on CAC [close]"> +
-//"Instrumental writing seems to us a field of study which is at the same time precise and open: it constitutes a still unequalled model of adequacy between combinatorial systems of operations on sets of symbols on one hand and a sound universe having its own rules of perceptive and cognitive operation on the other hand. Indeed, the notation operates a coherent link between these two worlds. By there, it is also open to integration of new sound materials --- extensions of the instrumental world, synthesis and transformation of sound. Instrumental writing brings with itself an almost ideal combination of formalization, codification, notation, and relation to the physical and perceptive world. We will thus employ the term Computer Assisted Composition while privileging, among all possible interpretations, the one that approaches at most the idea of instrumental writing. CAC systems will have to be able to bring an effective help in the specific case of instrumental writing; they will have to constitute a coherent link between the latter and new (synthetic) sound fields. They will be able in the long term to constitute good models for the control of pure synthesis. +
-[...]  +
-Because of the very great diersity of esthetical and formal (or anti-formal) models which coexists in contemporary music, one cannot imagine any more a CAC environment as a rigid application offering a finished collection of procedures for generation and transformation. On the contrary, we conceive such an environment as a specialized computer language that composers will use to build their own musical universe. Of course, the idea is not to provide them with a traditional language, whose control requires a great technical expertise, but a language arranged especially for their needs. This leads us to reflect on the various existing programming models, as well as on the interfaces, preferably graphical, intuitive, which make it possible to control this programming, and on the representations, internal and external, of the musical structures, which will be built and transformed using this programming. The ideal is thus a language that encapsulates in a consubstantial way the concept of notation, notation of the result (a musical score) but also notation of the process leading to this result (a visual program)."// Extract from G. Assayag: Computer Assited Composition Today (1998). +
-</hidden>))  +
-Several environments for music production were created for this purpose, such as the PatchWork and **[[OpenMusic:]]** visual programming languages.  +
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 +=== ===
  
-=== ===+  * **Mémoire d'Habilitation à Diriger des Recherches (2017)**: **[[.:bresson:hdr|Composition assistée par ordinateur : techniques et outils de programmation visuelle pour la création musicale]]** [FR].\\
 \\ \\
-**=> Internship proposal 2018** (for Master / Engineering students):   
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-**[[.:bresson:enseignement:stage2018|Applications of Machine Learning in Computer-Aided Composition]]** 
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 === —Projects === === —Projects ===
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     * [[paco:|PACO]]: Processus d'Apprentissage en Composition assistée par Ordinateur (Applications of Machine Learning in Computer-Assisted Composition).\\ //Coordinator and lead researcher//.  CNRS PEPS I3A (Intelligence Artificielle et Apprentissage Automatique), 2018.     * [[paco:|PACO]]: Processus d'Apprentissage en Composition assistée par Ordinateur (Applications of Machine Learning in Computer-Assisted Composition).\\ //Coordinator and lead researcher//.  CNRS PEPS I3A (Intelligence Artificielle et Apprentissage Automatique), 2018.
     * [[:bresson:cnmat:|Fulbright scholarship]] @UC Berkeley.\\ Research, teachning and activities at CNMAT, 2016.     * [[:bresson:cnmat:|Fulbright scholarship]] @UC Berkeley.\\ Research, teachning and activities at CNMAT, 2016.
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     * [[dyci2:|DYCI2]]: Creative Dynamics of Improvised Interaction.\\ French National Research Agency (ANR), 2015--2018.     * [[dyci2:|DYCI2]]: Creative Dynamics of Improvised Interaction.\\ French National Research Agency (ANR), 2015--2018.
     * [[http://inedit.ircam.fr|INEDIT]]: INteractivité dans l’Écriture De l’Interaction et du Temps.\\ French National Research Agency (ANR), 2012--2015.     * [[http://inedit.ircam.fr|INEDIT]]: INteractivité dans l’Écriture De l’Interaction et du Temps.\\ French National Research Agency (ANR), 2012--2015.
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-=== —Publications === 
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-  * **[[.:bresson:publications:list|List of publications]]** 
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-  * **[[openmusic:ombook|The OM Composer's Books]]**, a series 3 books about OpenMusic and it's use by composers. => [[http://www.editions-delatour.com/fr/sciences-de-la-musique/3298-the-om-composer-s-book-3-9782752102836.html|Vol. 3]] (2016).  
-  * Special issue of [[http://www.tandfonline.com/toc/nnmr20/46/1|Journal of New Music Research]] (46-1): **Interactive Composition**, co-edited with Joel Chadabe, 2017. 
-  * Special issue of [[https://tsi.revuesonline.com/resnum.jsp?editionId=1887&Submit2.x=18&Submit2.y=11|Technique et Science Informatique (TSI)]] (33-7/8): **Informatique Musicale**, co-edited with Dominique Fober, 2014. 
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 +=== —Publications ===
 +
 +  * **[[.:bresson:publications:list|List of publications]]**
 +
 +  * **[[openmusic:ombook|The OM Composer's Books]]**, a series 3 books about OpenMusic and it's use by composers. => [[http://www.editions-delatour.com/fr/sciences-de-la-musique/3298-the-om-composer-s-book-3-9782752102836.html|Vol. 3]] (2016). 
 +  * Special issue of [[http://www.tandfonline.com/toc/nnmr20/46/1|Journal of New Music Research]] (46-1): **Interactive Composition**, co-edited with Joel Chadabe, 2017.
 +  * Special issue of [[https://tsi.revuesonline.com/resnum.jsp?editionId=1887&Submit2.x=18&Submit2.y=11|Technique et Science Informatique (TSI)]] (33-7/8): **Informatique Musicale**, co-edited with Dominique Fober, 2014.
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 === —Community === === —Community ===
  
 


bresson.1549021845.txt.gz · Dernière modification: 2019/02/01 12:50 par Jean Bresson