论文标题
互动音乐和同步反应性编程
Interactive Music and Synchronous Reactive Programming
论文作者
论文摘要
本文介绍了Skini，这是一种编程方法和互动结构音乐的执行环境。通过这个系统，作曲家在Hiphop.js同步反应性语言中编写了他的分数。然后，他们在现场音乐会中与观众互动执行或演奏。该系统的目的是帮助作曲家在作品的决定论与与公众互动的不确定性之间找到良好的平衡。每次执行Skini分数都会产生不同但美学上一致的解释。 这项工作在音乐领域提出了许多问题。如何结合组成和相互作用？当观众影响下一步播放什么时，如何控制音乐风格？与生成音乐有什么可能的连接？这些是Skini系统的重要问题，但它们不超出本文的范围，该论文仅关注系统的计算机科学方面。从这个角度来看，主要问题是如何对分数进行编程以及哪种语言？通用语言是不合适的，因为它们的基本结构（即变量，功能，循环等）与表达音乐和音乐限制所需的结构不匹配。我们表明，同步编程语言是一种更好的拟合度，因为它们依靠可以直接用于表示音乐得分的时间结构，并且因为其延展性使作曲家可以轻松地尝试其最初分数的艺术变化。 该论文主要集中于分数编程。它揭示了作曲家应该从他的第一个音乐直觉到一代音乐艺术的过程。该论文介绍了古典音乐作品编程的一些摘录，然后与实际录音完全息息相关。还提供了音频伪像的技术音乐和爵士乐的示例，以演示系统的多功能性。最后，对过去现场音乐会的简要介绍是作为系统可行性的证据。
This paper presents Skini, a programming methodology and an execution environment for interactive structured music. With this system, the composer programs his scores in the HipHop.js synchronous reactive language. They are then executed, or played, in live concerts, in interaction with the audience. The system aims at helping composers to find a good balance between the determinism of the compositions and the nondeterminism of the interactions with the public. Each execution of a Skini score yields to a different but aesthetically consistent interpretation. This work raises many questions in the musical fields. How to combine composition and interaction? How to control the musical style when the audience influences what is to play next? What are the possible connections with generative music? These are important questions for the Skini system but they are out of the scope of this paper that focuses exclusively on the computer science aspects of the system. From that perspective, the main questions are how to program the scores and in which language? General purpose languages are inappropriate because their elementary constructs (i.e., variables, functions, loops, etc.) do not match the constructions needed to express music and musical constraints. We show that synchronous programming languages are a much better fit because they rely on temporal constructs that can be directly used to represent musical scores and because their malleability enables composers to experiment easily with artistic variations of their initial scores. The paper mostly focuses on scores programming. It exposes the process a composer should follow from his very first musical intuitions up to the generation of a musical artifact. The paper presents some excerpts of the programming of a classical music composition that it then precisely relates to an actual recording. Examples of techno music and jazz are also presented, with audio artifact, to demonstrate the versatility of the system. Finally, brief presentations of past live concerts are presented as an evidence of viability of the system.
