Computer-Assisted Composition at IRCAM: From PatchWork to OpenMusic
Computer-Assisted Composition at IRCAM: From PatchWork to OpenMusic
复制标题
IRCAM 的计算机辅助作曲：从 PatchWork 到 OpenMusic
作者：
G. Assayag;C. Rueda;Mikael Laurson;C. Agón;O. Delerue
近年来，IRCAM一直在探索和开发计算机辅助构图（CAC）软件。这些软件包允许作曲家和音乐学家形式化和实验音乐语言的结构和动态。Formes程序（Rodet和Cointe 1984），虽然主要致力于声音合成的控制，但实际上是一个具有高级面向对象架构的合成环境。Crime环境（Assayag，Castellengo，and Malherbe 1985; Amiot，Assayag，Malherbe，and Riotte 1986）是IRCAM首次尝试实现一个通用的CAC环境，用户可以定义和控制抽象的音乐形式主义。弗朗西斯Courtot开发了CARLA，试图将可视化编程接口用于基于Prolog的逻辑编程系统（Balaban，Ebcioglu和Laske 1992）。PatchWork环境的开发，由M。Laurson，J. Duten，and C. Rueda（Laurson和Duten 1989; Laurson 1996）是IRCAM CAC计划发展的下一个阶段。在个人计算概念中，编程简单性和高度可视化的界面相结合，在欧洲作曲家中创造了对PatchWork的迷恋，这些作曲家具有高度多样的音乐和美学背景，包括Antoine Bonnet，Michel Fano，Brian Ferneyhough，Gerard Grisey，Paavo Heininen，Magnus Lindberg，克劳迪Malherbe，Tristan Murail，Kaija Saariaho和许多其他人。OpenMusic由G. Assayag和C. Agon（Assayag，Agon，Fineberg，and Hanappe 1997; Agon，Assayag，Delerue，and Rueda 1998）是最新的IRCAM CAC环境。它是CLOS（Common Lisp Object System，Steele 1990）的一个可视化接口。除了是PatchWork的超集之外，它还允许作曲家在视觉上设计复杂的音乐对象类，从而开辟了新的领域。它引入了maquette概念，使音乐素材能够随着时间的推移进行高级控制，并以现代方式修改PatchWork视觉语言。
In recent years, IRCAM has been exploring and developing software for computer-assisted composition (CAC). These software packages allow composers and musicologists to formalize and experiment with the structures and dynamics of musical languages. The Formes program (Rodet and Cointe 1984), although primarily devoted to the control of sound synthesis, was really a compositional environment with a high-level object-oriented architecture. The Crime environment (Assayag, Castellengo, and Malherbe 1985; Amiot, Assayag, Malherbe, and Riotte 1986) was the first attempt at IRCAM to realize a general CAC environment where the user could define and control abstract musical formalisms. Francis Courtot developed CARLA as an attempt to use a visual programming interface to a Prolog-based logic-programming system (Balaban, Ebcioglu, and Laske 1992). The development of the PatchWork environment, by M. Laurson, J. Duthen, and C. Rueda (Laurson and Duthen 1989; Laurson 1996), was the next stage in the development of CAC programs at IRCAM. The combination of programming simplicity and a highly visual interface in a personal computing concept created an infatuation with PatchWork among European composers with highly diverse musical and aesthetic backgrounds, including Antoine Bonnet, Michel Fano, Brian Ferneyhough, Gerard Grisey, Paavo Heininen, Magnus Lindberg, Claudy Malherbe, Tristan Murail, Kaija Saariaho, and many others. OpenMusic, designed by G. Assayag and C. Agon (Assayag, Agon, Fineberg, and Hanappe 1997; Agon, Assayag, Delerue, and Rueda 1998), is the most recent IRCAM CAC environment. It is a visual interface to CLOS, the Common Lisp Object System (Steele 1990). Aside from being a superset of PatchWork, it opens new territories by allowing the composer to visually design sophisticated musical object classes. It introduces the maquette concept, which enables high-level control of musical material over time, and it revises the PatchWork visual language in a modern way.