Download Creating Music by Means of ´Physical Thinking`: The Musician Oriented Genesis Environment Mass-interaction physical modeling scheme is often cited as the traditional physical modeling technique, but surprisingly some of the possibilities for musical creation it allows have not yet been pointed out. GENESIS is a graphical environment based on the CORDIS-ANIMA mass-interaction paradigm and designed for musicians. It was conceived so as to help the user "think physical"; that is, to discover and experiment with new ways of creating music, which is necessary when using physical modeling. The paper introduces version 1.5 of the GENESIS environment. Its major features and ergonomic aspects are exposed – especially model representation, low and high level modeling tools, multisensorial simulation facilities. Examples of composer's works are presented.
Download 10 criteria for evaluating physical modelling schemes for music creation The success recently encountered by physically-based modeling (or model-based approaches) for music should not mask the deep challenges that remain in this area. This article first proposes an overview of the various goals that researchers and musicians, respectively operating from scientific and end-user perspectives, may pursue. Among these goals, those recently proposed or particularly critical for the coming years of research are highlighted. The article then introduces ten criteria that summarize the main features an optimal physically-based modeling scheme or language should present. With respect to these, it proposes an evaluation of the major approaches to physically-based modeling. Key words: goals of the physically-based approach to sound synthesis and music creation, languages and schemes, enduser needs, perception, evaluation criteria, bibliographic overview.
Download Self-Sustained Vibrating Structures Physical Modelling by Means of Mass-Interaction Networks GENESIS is a sound synthesis and musical creation environment based on the mass-interaction CORDIS-ANIMA physical modelling formalism. It has got the noteworthy property that it allows to work both on sound itself and on musical composition in a single coherent environment. In this paper we present the first results of a study that is carried out with GENESIS on a particular type of models: self-sustained oscillating structures. By trying to build physical models of real instruments like bowed strings or woodwinds, our aim is to develop and analyse generic tools that can be used for the production of self-sustained oscillations on every mass-interaction network built with GENESIS. But, if the family of the self-sustained oscillating structures is very interesting to create rich timbres, it can also play a new and fundamental role at the level of the temporal macrostructure of the music (that of the gesture and the instrumental performance, as well as the composition). Indeed, it is possible, as we will propose in this paper, to use the relatively complex motion of a bowed macrostructure in a musical composition way, as a musical events generator.
Download Filtering within the Framework of Mass-Interaction Physical Modeling and of Haptic Gestural Interaction A variety of filters have been designed, synthesized and used in the history of electronic and computer music. All the approaches aimed to provide filters fulfilling several specifications such as frequency response, phase response, transient state characteristics like rise time and overshoot, realizably conditions concerning the technology used for the implementation and even economical considerations. One of the most important aspects concerning the filters dedicated to musical applications is the control structure they provide to the musician, who is in charge for the integration of the filtering operation in the compositional process and performance. Designing filters using the mass interaction scheme embedded in the CORDIS-ANIMA formalism (used for sound synthesis and composition by physical modelling) offers a different methodology in the control which is coherent with the philosophy of musical composition by ‘physical thinking’. This article introduces a technique to design filters using the CORDIS-ANIMA simulation language.
Download A Modeller-Simulator for Instrumental Playing of Virtual Musical Instruments This paper presents a musician-oriented modelling and simulation environment for designing physically modelled virtual instruments and interacting with them via a high performance haptic device. In particular, our system allows restoring the physical coupling between the user and the manipulated virtual instrument, a key factor for expressive playing of traditional acoustical instruments that is absent in the vast majority of computer-based musical systems. We first analyse the various uses of haptic devices in Computer Music, and introduce the various technologies involved in our system. We then present the modeller and simulation environments, and examples of musical virtual instruments created with this new environment.