A Max Library for Musical Notation and Computer-Aided Composition

This article introduces a library of external objects for real-time computer-aided composition and musical notation in Max. The library provides Max with a set of tools for the graphical representation of musical notation, manipulation of musical scores through a variety of approaches ranging from GUI interaction to constraint programming, and sequencing. The library is oriented to real-time interaction, and is meant to interoperate easily with other processes or devices controlled by Max, such as DSP tools, MIDI instruments, or generic hardware systems. These features and design choices place our software at the intersection of various categories of musical software environments and approaches, allowing it to help reduce the gap found between tools for sound-based, electroacoustic musical practices, and for symbol-based, traditional composition. The library is called “bach: automated composer’s helper.”

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

[2]  Peter Van Roy,et al.  Multiparadigm Programming in Mozart/Oz, Second International Conference, MOZ 2004, Charleroi, Belgium, October 7-8, 2004, Revised Selected and Invited Papers , 2005, MOZ.

[3]  Arshia Cont,et al.  Modeling musical anticipation: From the time of music to the music of time. (Modélisation de l'anticipation musicale: Du temps de la musique vers la musique du temps) , 2008 .

[4]  Michael Alcorn,et al.  Strasheela: Design and Usage of a Music Composition Environment Based on the Oz Programming Model , 2004, MOZ.

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

[6]  Georg Hajdu,et al.  Maxscore: Music Notation in Max/MSP , 2009, ICMC.

[7]  Andrea Agostini,et al.  Fine-tuned Control of Concatenative Synthesis with CATART Using the BACH Library for MAX , 2014, ICMC.

[8]  Mikael Laurson,et al.  Patchwork: a Graphic Language in preFORM , 1989, ICMC.

[9]  Camilo Rueda,et al.  Computer-Assisted Composition at IRCAM: From PatchWork to OpenMusic , 1999, Computer Music Journal.

[10]  Andrea Agostini,et al.  Cage: a High-level Library for Real-time Computer-aided Composition , 2014, ICMC.

[11]  Dominique Fober,et al.  INScore - An Environment for the Design of Live Music Scores , 2012 .

[12]  Mika Kuuskankare,et al.  PWGL: A Novel Visual Language based on Common Lisp, CLOS and OpenGL , 2002, ICMC.

[13]  Gérard Assayag,et al.  Constraint programming in music , 2011 .

[14]  Carlos Agón,et al.  Composition Of Sound Mixtures With Spectral Maquettes , 2010, ICMC.

[15]  Eduardo Reck Miranda,et al.  Constraint programming systems for modeling music theories and composition , 2011, CSUR.

[16]  Diemo Schwarz,et al.  Ftm - Complex Data Structures for Max , 2005, ICMC.

[17]  Heinrich Taube,et al.  Common music. A music composition language in common lisp and CLOS , 1991 .

[18]  Noel Williams Computer assisted composition , 1992, Intell. Tutoring Media.

[19]  Camilo Rueda,et al.  Kant: a Critique of Pure Quantification , 1994, ICMC.

[20]  P. Codognet,et al.  Musical constraint satisfaction problems solved with adaptive search , 2004, Soft Comput..

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

[22]  Carlos Agon Openmusic : un langage visuel pour la composition musicale assistee par ordinateur , 1998 .

[23]  Thomas Resch note~ for Max - An extension for Max/MSP for Media Arts & music , 2013, NIME.

[24]  Jean Bresson,et al.  Interacting with Symbol, Sound, and Feature Spaces in Orchide, a Computer-Aided Orchestration Environment , 2010, Computer Music Journal.