Interactive-compositional Authoring of Sound Spatialization

spat-scene is a graphical user interface and spatial sound processor embedded in computer-aided composition software. It combines the interface and the rendering engine of Ircam Spatialisateur with a compositional and temporal control of spatial scene descriptors. Previous studies of the composition process as well as interviews with composers emphasized the needs for tools integrated within compositional environments allowing for interactive input, visualization and manipulation of spatio-temporal data in spatial scene descriptions. The spat-scene interface addresses such requirements by providing a timeline view synchronized with the spatial view of the Spatialisateur, three-dimensional editors as well as several internal and external rendering possibilities, all in a unified framework. spat-scene is implemented in the OpenMusic visual programming language, and so can be articulated with other musical structures and compositional processes. Through the case study of sound spatialization, this work tackles the challenge of authoring real-time processes in a compositional context.

[1]  Jean-Marc Jot,et al.  Real-time spatial processing of sounds for music, multimedia and interactive human-computer interfaces , 1999, Multimedia Systems.

[2]  Stefania Serafin,et al.  Spatio-Operational Spectral (S.O.S) Synthesis , 2003, ICMC.

[3]  Jonty Harrison Sound, space, sculpture: some thoughts on the ‘what’, ‘how’ and ‘why’ of sound diffusion , 1998 .

[4]  Jean Bresson Spatial Structures Programming for Music , 2012 .

[5]  J. Celerier,et al.  Outils d'écriture spatiale pour les partitions interactives , 2016 .

[6]  Germán Toro Perez,et al.  A PARADIGM FOR SCORING SPATIALIZATION NOTATION , 2015 .

[7]  Matteo Bozzolan,et al.  SMuSIM: a Prototype of Multichannel Spatialization System with Multimodal Interaction Interface , 2008, NIME.

[8]  Rui Penha,et al.  SPATIUM, TOOLS FOR SOUND SPATIALIZATION , 2013 .

[9]  David Kim-Boyle Spectral and Granular Spatialization with Boids , 2006, ICMC.

[10]  John M. Chowning,et al.  THE SIMULATION OF MOVING SOUND SOURCES , 1970 .

[11]  Marlon Schumacher,et al.  Spatial sound synthesis in computer-aided composition* , 2010 .

[12]  Jérémie Garcia,et al.  Towards interactive authoring tools for composing spatialization , 2015, 2015 IEEE Symposium on 3D User Interfaces (3DUI).

[13]  Miller S. Puckette A divide between 'compositional' and 'performative' aspects of Pd ⁄ , 2004 .

[14]  Gary S. Kendall,et al.  The Decorrelation of Audio Signals and Its Impact on Spatial Imagery , 1995 .

[15]  Jean Bresson,et al.  Planning and Scheduling Actions in a Computer-Aided Music Composition System , 2015 .

[16]  Jean Bresson Reactive visual programs for computer-aided music composition , 2014, 2014 IEEE Symposium on Visual Languages and Human-Centric Computing (VL/HCC).

[17]  Jean Bresson,et al.  OMChroma: Compositional Control of Sound Synthesis , 2011, Computer Music Journal.

[18]  Arshia Cont,et al.  Antescofo: Anticipatory Synchronization and control of Interactive parameters in Computer Music , 2008, ICMC.

[19]  F. Otondo Contemporary trends in the use of space in electroacoustic music , 2008, Organised Sound.

[20]  Jean-Louis Giavitto,et al.  AscoGraph: A User Interface for Sequencing and Score Following for Interactive Music , 2014, ICMC.

[21]  Olivier Delerue,et al.  Spatialisation du son et programmation par contraintes : le système MusicSpace , 2004 .

[22]  Andrea Agostini,et al.  Real-Time Computer-Aided Composition with bach , 2013 .

[23]  Scott Wilson,et al.  Rethinking the beast: Recent developments in multichannel composition at birmingham electroacoustic sound theatre , 2010 .

[24]  Todor Todoroff,et al.  NeXTSTEP Graphical Interfaces to Control Sound Processing and Spatialization Instruments , 1997, ICMC.

[25]  Jan C. Schacher SEVEN YEARS OF ICST AMBISONICS TOOLS FOR MAXMSP - A BRIEF REPORT , 2010 .

[26]  Marcelo M. Wanderley,et al.  Gesture-Based Human-Computer Interaction and Simulation, 7th International Gesture Workshop, GW 2007, Lisbon, Portugal, May 23-25, 2007, Revised Selected Papers , 2009, Gesture Workshop.

[27]  Mika Kuuskankare,et al.  PWGLSynth: A Visual Synthesis Language for Virtual Instrument Design and Control , 2005, Computer Music Journal.

[28]  Marlon Schumacher,et al.  Tools and Applications for Interactive-Algorithmic Control of Sound Spatialization in OpenMusic , 2015 .

[29]  G. Kendall,et al.  Spatial Perception and Cognition in Multichannel Audio for Electroacoustic Music , 2010, Organised Sound.

[30]  Adriana Madden Developing spaceJam: The New Sound Spatialization Tool for an Artist and Novice , 2014 .

[31]  Ludger Brümmer,et al.  Introducing the Zirkonium MK2 System for Spatial Composition , 2014, ICMC.

[32]  Jérémie Garcia,et al.  Trajectoires: A Mobile Application for Controlling Sound Spatialization , 2016, CHI Extended Abstracts.

[33]  Gérard Assayag,et al.  OpenMusic: visual programming environment for music composition, analysis and research , 2011, ACM Multimedia.

[34]  J. C. Flanagan Psychological Bulletin THE CRITICAL INCIDENT TECHNIQUE , 2022 .

[35]  Marije A. J. Baalman,et al.  On wave Field synthesis and electro-acoustic Music - State of the Art 2007 , 2007, ICMC.

[36]  Natasha Barrett THE PERCEPTION, EVALUATION AND CREATIVE APPLICATION OF HIGH ORDER AMBISONICS IN CONTEMPORARY MUSIC PRACTICE , 2012 .

[37]  Marije a. j. Baalman Spatial composition techniques and sound spatialisation technologies , 2010 .

[38]  Rama Gottfried,et al.  SVG TO OSC TRANSCODING: TOWARDS A PLATFORM FOR NOTATIONAL PRAXIS AND ELECTRONIC PERFORMANCE , 2015 .

[39]  Axel Röbel,et al.  MuBu and Friends - Assembling Tools for Content Based Real-Time Interactive Audio Processing in Max/MSP , 2009, ICMC.

[40]  Olivier Warusfel,et al.  Twenty Years of Ircam Spat: Looking Back, Looking Forward , 2015, ICMC.

[41]  Marcelo M. Wanderley,et al.  Gesture Control of Sound Spatialization for Live Musical Performance , 2007, Gesture Workshop.

[42]  Daniel Plewe,et al.  WONDER - a software interface for the application of Wave Field Synthesis in electronic music and interactive sound installations , 2004, ICMC.

[43]  Jonas Braasch,et al.  A Loudspeaker-Based Projection Technique for Spatial Music Applications Using Virtual Microphone Control , 2008, Computer Music Journal.

[44]  WrightMatthew Open Sound Control: an enabling technology for musical networking , 2005 .

[45]  Stephen McAdams,et al.  Current Technologies and Compositional Practices for Spatialization: A Qualitative and Quantitative Analysis , 2011, Computer Music Journal.

[46]  Jérémie Garcia,et al.  Trajectoires: a mobile application for controlling and composing sound spatialization , 2015, IHM.

[47]  M. A. J. Baalman Application of Wave Field Synthesis in electronic music and sound installations , 2004 .

[48]  Robert Normandeau Timbre spatialisation: The medium is the space , 2009 .