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from the design itself the assembler code of the projected algorithm. This assembler code can immediately be translated into the machine code of the floating-point numerical processor that was used, then transferred to the board that has the processor inside. Finally this machine code is executed. During the algorithm execution time, it is possible to modify in real time the value of any numerical parameter of the algorithm by using the program's graphic interface. The modified value is immediately transferred to the data memory of the digital signal-processing board. In this way, for example, one can realize a digital filter of any order with the coefficients changing over time under one's direct control and with the precision of the floating point; such precision is extremely necessary for the numerical stability of the algorithm. Another possible application is the synthesis of every waveform through linear algorithms (such as additive synthesis) and nonlinear algorithms (such as frequency modulation or nonlinear distortion). The parameters of these algorithms can be changed over time through manual control. In this way one can control the characteristics of the generated signals (i.e. amplitude or frequency), to create signals, the spectrum of which varies over time. With the possibility to connect every fundamental digital signalprocessing module to every complex module realized thereafter, there are no limits to the possible algorithms obtainable or to the potential applications of this system. In conclusion, the Digital Signal Patcher allows a real CAD workstation to be installed on a personal computer and makes acquisition, analysis , synthesis and dynamic signalprocessing easy. And all these things are possible without writing a single program line! Lyon: Musiques en Scene 1992 Christele Pruoot Could contemporary music have found its public? The events of Musiques en Scene 1992, which took place from 16 March to 21 March in Lyon, France, beyond all question, did reach theirs. The Group of Research and Realization Applied to Electronic Musics (GRAME), which produces these events, has no doubt something to do with the success of the venture. Founded in 1982, the Lyon GRAME studio is formed of a group of composers and computer researchers . GRAME specializes in research and creation but, unlike other electroacoustic music studios, it also endeavors to spread contemporary music because, according to its directors ,James Giroudon and PierreAlainJaffrenou , GRAME must "consider that programming today's music is not reserved for an elite". In 1982, that point ofview led, at the Theatre de l'Ouest Lyonnais, to the FirstNight ofMusiquesen Scene, which was born in a moody musical climate. Since the early 1960s, contemporary music in Lyon, has alwayshad difficulty in establishing itself. There was an initiative , under Roger Accart's impetus, called Musiquesdu Temps, which was Christele Pruvct (writer), 41. rue Balme, 69003 Lyon. France. Received 4June 1992. all the more meritorious since there were no establishments outside Paris that were promoting contemporary music. This venture lasted from 1962 to 1972, when festivals like Royan and La Rochelle appeared in France. When Musiquesdu Tempsvanished, inertia once again spread over musical life in Lyon, especially over contemporary music. Here and there were a few limited operations, such as a short season co-produced in 1972 by the National Popular Theatre (TNP) and, at the same time, the establishment of Boulez's Ensemble Intercontemporain . It is worth mentioning that between 1981 and 1984, there were four small musical sessions called Musique Nouvelle, which came into being thanks to Jean Astier, who was then director of the Auditorium Maurice Ravel. From the beginning, GRAME favored a diversity of points ofview, within the studio as well as in its programming choices: the program notes advise that "Musiquesen Scene is the wish to produce musical clashes by developing an immoderate taste for a variety of forms, pleasure of listening and of stage." Musiques en SceneMusic in the Plural Since 1982, in the successive produetions of Musiquesen Scene, GRAME has sought not only the promotion of GRAME composers' works, but to show the diversity of musics, with a broad share of attention given to the stage (especially in musical drama), to musics that combine electroacoustic techniques and instrumental music ), to improvisation (including but not limited to jazz) and...

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Additional Information

ISSN
1531-4812
Print ISSN
0961-1215
Pages
pp. 113-115
Launched on MUSE
2016-07-06
Open Access
No
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