交互式音乐和同步响应式编程
Interactive Music and Synchronous Reactive Programming
摘要：
本文介绍了Skini，一种交互式结构音乐的编程方法和执行环境。有了这个系统，作曲家用HipHop.js同步反应语言编写他的乐谱。然后，他们被执行，或发挥，在现场音乐会，在与观众的互动。该系统旨在帮助作曲家在作品的决定性和与公众互动的非决定性之间找到一个很好的平衡。每一个Skini评分的执行都会产生不同但美学上一致的解释。这部作品在音乐领域提出了许多问题。如何将构图和互动结合起来？当听众影响下一场演奏时，如何控制音乐风格？与生成音乐有什么可能的联系？这些都是Skini系统的重要问题，但它们超出了本文的范围，本文只关注该系统的计算机科学方面。从这个角度来看，主要的问题是如何编程的分数和在哪种语言？通用语言是不合适的，因为它们的基本结构（即，变量、函数、循环等）与表达音乐和音乐约束所需的结构不匹配。我们发现，同步程序设计语言是一个更好的适合，因为它们依赖于时间结构，可以直接用于表示乐谱，因为他们的可塑性，使作曲家很容易实验与艺术的变化，他们的初始分数。本文主要研究分数规划。它揭示了一个作曲家应该遵循的过程，从他的第一个音乐直觉到音乐作品的产生。本文介绍了一些摘录的编程的古典音乐作品，它然后精确地涉及到一个实际的录音。电子音乐和爵士乐的例子也提出了，与音频工件，以证明系统的多功能性。最后，简要介绍了过去的现场音乐会作为一个证据的可行性系统。
英文摘要：
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.
机构、总结、中文摘要均由AI分析而来，可能存在错误，请以论文正文为准。
