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This paper introduces Sybil, an interactive tool for assisting in the teaching of sound synthesis and processing. We have created a 'browser' in MSP that permits patchers to be assembled into a structured learning package. All the sophistication and flexibility of MSP is available. Sybil provides text accompanied by examples that students can manip...
Citations
... Ways of creating sophisticated navigation tools are not perhaps immediately obvious within Max/MSP, but buttons (be they explicit buttons, or invisible buttons attached to graphics) can trigger the opening and closing of windows or can be used to load new pictures (for example pages scanned in from a music score) in place of those currently being displayed. Clarke led a team to develop software for the teaching of sound synthesis in which the powerful sound-producing capabilities of Max/MSP were linked to navigation techniques developed by the team (Clarke et al., 2004;Clarke, 2006a). The Sybil software 3 provides students with the opportunity to read about the principles of sound synthesis alongside experiencing the aural results by playing with the techniques described interactively to produce sound. ...
... More advanced users can look inside a module to find and copy solutions to typical programming problems that suggest good practice for future implementations, while expert users can revise modules then check in and release [5] new versions. Modular systems such as Sybil [1] and Jamoma [2] provide a high degree of consistency in the end result by requiring that module developers adhere to conventions about visual layout, signal output, standardized input messages, etc., whereas collections of patches such as aLib and the Bennies are simply individual programmers' collections of useful patches, without necessarily having any formal programming conventions. CNMAT has always valued technical and aesthetic openness and flexibility over conformance to predefined institutional structures. ...
This paper outlines recent developments in pedagogical software resources at the CNMAT. We describe the Max/MSP/Jitter Depot: an organized system where software can be stored and shared. The Depot offers a wide range of support and includes basic programming tips, modular programming units for copy and paste, interactive tutorials on all aspects of computer music, and functioning musical works with commentary and criticism.
... The software developed for the analysis of Mortuos Plango is easily extensible for someone with knowledge of MaxMSP programming (which is an increasingly large percentage of the computer music community). It is constructed within the Sybil [1] environment, developed at the University of Huddersfield by the author together with Ashley Watkins, Mathew Adkins and Mark Bokowiec. As a result it is possible for the interactive aural approach described here to be extended to the analysis of other works. ...
Computer music presents particular challenges for the analyst. This paper discusses the approach taken by the author to tackle these issues in analysing Jonathan Harvey's work Mortuos Plango, Vivos Voco [2]. The focus of the paper is not the analysis itself but the problems posed for the analyst by such a work and the methods used to try and resolve them. It describes a number of different techniques that were used, both in the making of the analysis and in its presentation. In particular it focuses on the interactive aural approach developed for this analysis using specially designed software and discusses its potential for wider application.
Introduction L’enseignement et l’apprentissage de la musique liée aux technologies, et plus particulièrement au traitement numérique de signal, peuvent dans une large mesure bénéficier de la recherche sur la production des musiques électroacoustiques. En effet, ce répertoire repose par définition sur un usage substantiel des nouvelles technologies, et l’étude d’une situation compositionnelle donnée offre un point de vue privilégié sur, d’une part, un processus créatif singulier et, d’autre part, un ensemble de techniques pour la génération et la transformation du son et des matériaux musicaux. Une approche par études de cas peut ainsi compléter l’apprentissage in abstracto des méthodes de composition musicale et des algorithmes de traitement de signal. Le projet TaCEM, conduit par les trois auteurs de cet article de 2012 à 2017, s’est donné pour objectif l’investigation des musiques électroacoustiques et une orientation particulière sur la relation entre innovations technologiques et processus compositionnels1. Bien que le projet relève principalement de la recherche musicologique, avec des questionnements à la fois d’ordre historique et analytique, une part significative de sa mise en œuvre s’appuie sur le développement de logiciels innovants qui peuvent également servir d’outils dans un contexte pédagogique. De fait, une partie de la recherche intégrant une importante dimension logicielle, entreprise par Michael Clarke à l’Université de Huddersfield avant le projet TaCEM, é
