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opmo

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  1. You find many examples in the Utilities panel in the 'Howto Score' and the 'Score Examples' section:
  2. The menu is changing with time. As for the lesson 2 file 4, first you need to evaluate the expressions in the main score file: 2. Full Score.
  3. (let ((out (pcs-cardinal 4 :forte))) (loop for i in (pcs-super-sets 4 (pcs '3-1) :forte) do (setf out (remove i out)) finally (return out))) (let ((rem (pcs-cardinal 7 :forte)) (super (pcs-super-sets 7 (pcs '3-1) :forte))) (loop for i in super do (setf rem (remove i rem)) finally (return rem))) => (7-31 7-31b 7-32 7-32b 7-34 7-35) here it is.
  4. All the tutorials on our Forum you will find in the Opusmodus application documentation. Using texts from the web pages (code, examples, etc...) can produce an error.
  5. Updates are made frequently and are for free. Upgrades (1.2 .1.3 1.4 etc...) are payable. If you buy 1.3 now you are exempt form the upgrade payment for 4 months. Our last upgrade from version 1.2 to 1.3 was €145. From ver. 1.4 onwards all our upgrades will cost €99.
  6. Upcoming Opusmodus ver. 1.4 microtonal notation display and playback (MTS). Luigi Nono, Fragmente-Stille, An Diotima (fragment - 26/27). Best wishes and happy holidays, Janusz
  7. (polygon-rhythm (pcs '7-35) 20 1) (polygon-rhythm (pcs '7-35) 12 1) (pcs-rhythm '7-35 :points 12 :value 1/12) (pcs-rhythm '7-35 :points 12 :value 1/8) (pcs-rhythm '7-35 :points 10 :value 1/20)
  8. Thank you Jor, great introduction to Opusmodus.
  9. Should work with the next release 1.4
  10. Following our successful presentation in the Museo di Storia Naturale in Venice on the 7th December, Achim Bornhoeft and I spent some time talking and playing with the Neo-Riemann theory with an outcome of a diagram and a function. This will be part of the next release. Post-Riemann Transformations on a C major triad One step transformation (basic transformations): P (parallel) R (relative) L (leading) Two step transformations: Parallel: PR and PL Relative: RL and RP Leading: LR and LP Three step transformations: Parallel: PLR and PRL Relative: RLP and RPL Leading: LPR and LPR Reflection: PLR and RLP are equal. PRL and LRP are equal. RPL and LPR are equal. Examples: (tonnetz 'c4e4g4 '(p p r r l l)) => (c4e4g4 c4eb4g4 c4e4g4 c4e4a4 c4e4g4 b3e4g4 c4e4g4) (tonnetz '(c4 e4 g4) '(p p r r l l)) => ((c4 e4 g4) (c4 eb4 g4) (c4 e4 g4) (c4 e4 a4) (c4 e4 g4) (b3 e4 g4) (c4 e4 g4)) (tonnetz 'e4g4b4 '(l r l r p l r l r p)) => (e4g4b4 e4g4c5 e4a4c5 f4a4c5 f4a4d5 fs4a4d5 fs4a4cs5 e4a4cs5 e4gs4cs5 e4gs4b4 e4g4b4) (tonnetz 'ab3c4eb4 '(p l p l p l p l)) => (ab3c4eb4 gs3b3eb4 gs3b3e4 g3b3e4 g3c4e4 g3c4eb4 gs3c4eb4 gs3b3eb4 gs3b3e4) (tonnetz 'ab3c4eb4 '(pl pl pl pl)) => (ab3c4eb4 gs3b3e4 g3c4e4 gs3c4eb4 gs3b3e4) (tonnetz 'c4e4g4 '(p r p r p r p r)) => (c4e4g4 c4eb4g4 bb3eb4g4 bb3eb4fs4 bb3cs4fs4 a3cs4fs4 a3cs4e4 a3c4e4 g3c4e4) (setf moves (rnd-order '(p l r lr lp rp rl pr pl plr prl rpl) :seed 26)) => (rp rl rpl pr prl lr r p plr pl lp l) (tonnetz 'c4e4g4 moves) => (c4e4g4 cs4e4a4 d4fs4a4 eb4fs4bb4 eb4g4c5 f4a4c5 e4g4c5 e4a4c5 e4a4cs5 f4a4d5 fs4a4cs5 f4a4d5 f4bb4d5) (setf transitions '(p l r lr lp rp rl pr pl plr prl rpl prlpr lrplprpp)) (setf rnd-transition (rnd-sample 15 transitions :seed 750989)) => (prlpr r r p pl pl lrplprpp lr prlpr rpl lp rl prl rl rpl) (tonnetz 'ab3c4eb4 rnd-transition)) => (ab3c4eb4 g3c4eb4 g3bb3eb4 g3c4eb4 g3c4e4 gs3c4eb4 gs3b3e4 f3bb3d4 f3a3c4 e3a3c4 eb3gs3c4 e3g3c4 f3a3c4 eb3g3c4 d3g3bb3 cs3fs3bb3) (tonnetz '(c maj) '(plp rpr lpl rpr lpl lpl rprp lpl)) => (c4e4g4 b3eb4gs4 a3d4fs4 bb3cs4f4 gs3b3e4 g3c4eb4 gs3b3e4 bb3d4f4 a3cs4fs4)
  11. We have some problem with CCL compiler on Catalina. We are working on it.
  12. Of course all depends on what Vienna Instrument present you are loading into the Vienna Ensember Pro app. With both.
  13. And if the :sound is 'gm then :program is the instrument name or an integer of the gm setup with :port set to nil.
  14. Here is my VSL instrument setup example: :sq (:layout string-quartet-layout :port 3 :channel '(1 2 3 4) :sound '(vi-violin vi-violin vi-viola vi-cello) :program 0 :controllers nil :pan (pan '(-30 -10 10 30)) :volume 92) As you can see the :program is set to 0. The program is not important here, only the :sound is. Here is the Violin sound setup: (in-package :Opusmodus) ;;;--------------------------------------------------------- ;;; VIENNA INSTRUMENTS - VIOLIN ;;;--------------------------------------------------------- (def-sound-set vi-violin :programs (:group perf-universal vl-perf-sustain (:key c2 cc1 5) vl-perf-marcato (:key c2 cc1 64) vl-perf-spic (:key c2 cc1 120) :group perf-legato-all vl-perf-legato (:key cs2 :key c1 cc1 40) vl-perf-legato-sul (:key cs2 :key cs1 cc1 40) vl-perf-legato-zigane (:key cs2 :key d1 cc1 40) vl-perf-legato-vib-progr (:key cs2 :key ds1 cc1 40) vl-perf-portamento (:key cs2 :key c1 cc1 80) :group articulation-combi vl-staccato (:key d2 :key c1 cc1 40) vl-sus-vib (:key d2 :key cs1 cc1 40) vl-fp-vib (:key d2 :key d1 cc1 40) vl-trem-sus (:key d2 :key ds1 cc1 40) vl-trill-1 (:key d2 :key e1 cc1 40) vl-pon-staccato (:key d2 :key f1 cc1 40) vl-pon-trem (:key d2 :key fs1 cc1 40) vl-harm-art-stac (:key d2 :key g1 cc1 40) vl-octav-gliss-me (:key d2 :key gs1 cc1 40) vl-pizz (:key d2 :key a1 cc1 40) vl-detache-short (:key d2 :key c1 cc1 80) vl-sus-vib-marc (:key d2 :key cs1 cc1 80) vl-sfz-vib (:key d2 :key d1 cc1 80) vl-trem-sus-af-auto (:key d2 :key ds1 cc1 80) vl-trill-2 (:key d2 :key e1 cc1 80) vl-pon-sus (:key d2 :key f1 cc1 80) vl-pon-trem-fa-auto (:key d2 :key fs1 cc1 80) vl-harm-art-sus (:key d2 :key g1 cc1 80) vl-octav-gliss-fa (:key d2 :key gs1 cc1 80) vl-pizz-snap (:key d2 :key a1 cc1 80) :group pref-repetitions-combi vl-perf-rep-sl (:key ds2 :key c1) vl-perf-rep-por-me (:key ds2 :key cs1) vl-perf-rep-stac (:key ds2 :key d1) vl-perf-rep-spi (:key ds2 :key ds1) vl-perf-rep-harsh (:key ds2 :key e1) :group combi-cre9 vl-rep-cre9-por-fa-1 (:key e2 :key c1 cc1 10) vl-rep-cre9-por-fa-2 (:key e2 :key cs1 cc1 10) vl-rep-cre9-por-fa-3 (:key e2 :key d1 cc1 10) vl-rep-cre9-por-fa-4 (:key e2 :key ds1 cc1 10) vl-rep-cre9-por-fa-5 (:key e2 :key e1 cc1 10) vl-rep-cre9-por-fa-6 (:key e2 :key f1 cc1 10) vl-rep-cre9-por-fa-7 (:key e2 :key fs1 cc1 10) vl-rep-cre9-por-fa-8 (:key e2 :key g1 cc1 10) vl-rep-cre9-por-fa-9 (:key e2 :key gs1 cc1 10) vl-rep-cre9-sta-1 (:key e2 :key c1 cc1 25) vl-rep-cre9-sta-2 (:key e2 :key cs1 cc1 25) vl-rep-cre9-sta-3 (:key e2 :key d1 cc1 25) vl-rep-cre9-sta-4 (:key e2 :key ds1 cc1 25) vl-rep-cre9-sta-5 (:key e2 :key e1 cc1 25) vl-rep-cre9-sta-6 (:key e2 :key f1 cc1 25) vl-rep-cre9-sta-7 (:key e2 :key fs1 cc1 25) vl-rep-cre9-sta-8 (:key e2 :key g1 cc1 25) vl-rep-cre9-sta-9 (:key e2 :key gs1 cc1 25) vl-rep-cre9-spi-1 (:key e2 :key c1 cc1 70) vl-rep-cre9-spi-2 (:key e2 :key cs1 cc1 70) vl-rep-cre9-spi-3 (:key e2 :key d1 cc1 70) vl-rep-cre9-spi-4 (:key e2 :key ds1 cc1 70) vl-rep-cre9-spi-5 (:key e2 :key e1 cc1 70) vl-rep-cre9-spi-6 (:key e2 :key f1 cc1 70) vl-rep-cre9-spi-7 (:key e2 :key fs1 cc1 70) vl-rep-cre9-spi-8 (:key e2 :key g1 cc1 70) vl-rep-cre9-spi-9 (:key e2 :key gs1 cc1 70) vl-rep-cre9-harsh-1 (:key e2 :key c1 cc1 120) vl-rep-cre9-harsh-2 (:key e2 :key cs1 cc1 120) vl-rep-cre9-harsh-3 (:key e2 :key d1 cc1 120) vl-rep-cre9-harsh-4 (:key e2 :key ds1 cc1 120) vl-rep-cre9-harsh-5 (:key e2 :key e1 cc1 120) vl-rep-cre9-harsh-6 (:key e2 :key f1 cc1 120) vl-rep-cre9-harsh-7 (:key e2 :key fs1 cc1 120) vl-rep-cre9-harsh-8 (:key e2 :key g1 cc1 120) vl-rep-cre9-harsh-9 (:key e2 :key gs1 cc1 120) :group perf-harsh-combi vl-sus-vib-fa (:key f2 :key c1 cc1 5) vl-sus-vib-progr (:key f2 :key cs1 cc1 5) vl-pon-sus-fa (:key f2 :key d1 cc1 5) :group omn ord (:key c2 cc1 5) stacc (:key d2 :key c1 cc1 40) stacs (:key e2 :key c1 cc1 25) marc (:key c2 cc1 64) spicc (:key c2 cc1 120) leg (:key cs2 :key c1 cc1 40) tasto (:key cs2 :key cs1 cc1 40) leg+tasto (:key cs2 :key cs1 cc1 40) tasto+leg (:key cs2 :key cs1 cc1 40) vib+marc (:key d2 :key cs1 cc1 80) marc+vib (:key d2 :key cs1 cc1 80) deta (:key d2 :key c1 cc1 80) pizz (:key d2 :key a1 cc1 40) snap (:key d2 :key a1 cc1 80) trem (:key d2 :key ds1 cc1 40) tr1 (:key d2 :key e1 cc1 40) tr2 (:key d2 :key e1 cc1 80) stacc+ponte (:key d2 :key f1 cc1 40) ponte+stacc (:key d2 :key f1 cc1 40) ponte+trem (:key d2 :key fs1 cc1 40) trem+ponte (:key d2 :key fs1 cc1 40) ponte (:key d2 :key f1 cc1 80) ) :controllers (:group default-settings pitch 0 velocity-xf 2 volume 7 pan 10 expression 11 reverb-dry/wet 14 reverb-on/off 15 slot-xf 20 start-scaler 21 master-attack 22 master-release 23 master-filter 24 delay-scaler 25 tuning-scaler 26 humanize 27 velocity-xf-on-off 28 rsamp-on-off 29 dynamics-scaler 30 :group Pedal Ped 64 Sost-Ped 66 Una-Corda 67 :group matrix cc1 1 ) )
  15. You define the keyswitches in the DEF-SOUND-SET, after, you place the file in the ~/Opusmodus/Def-Libraries/Def-Sound-Sets folder (next time you start the app the file will load automatically). Copy one of the existing files, change the name and fill it will your instrument setup (controllers, keyswitches etc...). All articulation you define in your sound-set can be used in omn. Nothing else you need to do. The list of attributes names you can use in your setup you will find in 4th Element - Attributes doc. You can create your own - if needed - with ADD-TEXT-ATTRIBUTES function. (q c4 stacc) If there is a sound set with a name STACC in your setup then that program (sample) will be triggered. Stephane gives lessons on all OM technics and subjects: https://opusmodus.com/forums/lessons/
  16. (in-package :Opusmodus) ;;;--------------------------------------------------------- ;;; VIENNA INSTRUMENTS - CELLO (keyswitches) ;;;--------------------------------------------------------- ;; Patches, keyswitches and controllers change events. (def-sound-set VSL-Cello :programs (:group Perf-Legato perf-legato (:key c7) :group Perf-Marcato perf-marcato (:key cs7) :group Perf-Spiccato spiccato (:key d7) :group Short-Notes staccato (:key ds7 :key c1) detache-shot (:key ds7 :key cs1) detache-long (:key ds7 :key d1) :group Long-Notes sus-vib (:key e7 :key c1) sus-vib-marc (:key e7 :key cs1) sus-vib-espr (:key e7 :key d1) sus-vib-progr (:key e7 :key ds1) sus-down (:key e7 :key e1) sus-novib (:key e7 :key f1) :group Dynamic dyn-me-vib-2s (cc1 0 :key f7 :key c1 :key a0) dyn-me-vib-3s (cc1 0 :key f7 :key cs1 :key a0) dyn-me-vib-4s (cc1 0 :key f7 :key d1 :key a0) dyn-str-vib-2s (cc1 25 :key f7 :key c1 :key a0) dyn-str-vib-3s (cc1 25 :key f7 :key cs1 :key a0) dyn-str-vib-4s (cc1 25 :key f7 :key d1 :key a0) dyn-me-novib-2s (cc1 60 :key f7 :key c1 :key a0) dyn-me-novib-3s (cc1 60 :key f7 :key cs1 :key a0) dyn-me-novib-4s (cc1 60 :key f7 :key d1 :key a0) pfp-vib-2s (cc1 100 :key f7 :key c1 :key a0) pfp-vib-4s (cc1 100 :key f7 :key cs1 :key a0) fp-vib (cc1 127 :key f7 :key c1 :key a0) sfz-vib (cc1 127 :key f7 :key cs1 :key a0) sffz-vib (cc1 127 :key f7 :key d1 :key a0) :group Tremolo trem-sus (:key fs7 :key c1 :key a0) trem-sus-fA-auto (:key fs7 :key cs1 :key a0) trem-sus-dyn-2s (:key fs7 :key d1 :key a0) trem-sus-dyn-3s (:key fs7 :key ds1 :key a0) :group Trills trill-1 (cc1 0 :key g7 :key c1 :key a0) trill-1-dyn (cc1 0 :key g7 :key cs1 :key a0) trill-1-acc (cc1 0 :key g7 :key d1 :key a0) trill-1-acc-dyn (cc1 0 :key g7 :key ds1 :key a0) trill-2 (cc1 127 :key g7 :key c1 :key a0) trill-2-dyn (cc1 127 :key g7 :key cs1 :key a0) trill-2-acc (cc1 127 :key g7 :key d1 :key a0) trill-2-acc-dyn (cc1 127 :key g7 :key ds1 :key a0) :group Pizzicato pizzicato (cc1 0 :key gs7 :key c1) col-legno (cc1 0 :key gs7 :key cs1) pizz-secco (cc1 80 :key gs7 :key c1) pizz-snap (cc1 127 :key gs7 :key c1) :group Harmonic-Artificial harm-art-stac (:key a7 :key c1) harm-art-sus (:key a7 :key cs1) harm-art-perf-rep (:key a7 :key d1) :group Harmonic-Natural harm-nat-sus (:key as7 :key c1 :key a0) harm-nat-perf-rep (:key as7 :key cs1 :key a0) harm-nat-gliss (:key as7 :key d1 :key a0) :group Ponticello pon-staccato (cc1 0 :key b7 :key c1 :key a0) pon-sus (cc1 0 :key b7 :key cs1 :key a0) pon-sfz (cc1 0 :key b7 :key d1 :key a0) pon-trem (cc1 0 :key b7 :key ds1 :key a0) pon-perf-rep-leg (cc1 0 :key b7 :key e1 :key a0) pon-detache (cc1 127 :key b7 :key c1 :key a0) pon-sus-fA-auto (cc1 127 :key b7 :key cs1 :key a0) pon-sffz (cc1 127 :key b7 :key d1 :key a0) pon-trem-fA-auto (cc1 127 :key b7 :key ds1 :key a0) pon-perf-rep-dyn-leg (cc1 127 :key b7 :key e1 :key a0) :group Tasto tas-staccato (cc1 0 :key c8 :key c1 :key a0) tas-sus (cc1 0 :key c8 :key cs1 :key a0) tas-sfz (cc1 0 :key c8 :key d1 :key a0) tas-trem (cc1 0 :key c8 :key ds1 :key a0) tas-detache (cc1 127 :key c8 :key c1 :key a0) tas-sus-fA-auto (cc1 127 :key c8 :key cs1 :key a0) tas-trem-fA-auto (cc1 127 :key c8 :key ds1 :key a0) :group OMN leg (:key c7) marc (:key cs7) spicc (:key d7) stacc (:key ds7 :key c1) deta (:key ds7 :key cs1) deta+vib (:key ds7 :key d1) deta+non-vib (:key ds7 :key ds1) vib (:key e7 :key c1) vib+marc (:key e7 :key cs1) non-vib (:key e7 :key f1) trem (:key fs7 :key c1 :key a0) tr1 (cc1 0 :key g7 :key c1 :key a0) tr2 (cc1 127 :key g7 :key c1 :key a0) pizz (cc1 0 :key gs7 :key c1) legno (cc1 0 :key gs7 :key cs1) secco (cc1 80 :key gs7 :key c1) snap (cc1 127 :key gs7 :key c1) harm (:key a7 :key c1 :key a0) harm2 (:key as7 :key c1 :key a0) ponte+stacc (cc1 0 :key b7 :key c1 :key a0) ponte+vib (cc1 0 :key b7 :key cs1 :key a0) ponte+deta (cc1 127 :key b7 :key c1 :key a0) ponte+trem (cc1 0 :key b7 :key ds1 :key a0) tasto+stacc (cc1 0 :key c8 :key c1 :key a0) tasto+vib (cc1 0 :key c8 :key cs1 :key a0) tasto+deta (cc1 127 :key c8 :key c1 :key a0) tasto+trem (cc1 0 :key c8 :key ds1 :key a0) ) :controllers (:group Default-Settings Pitch 0 Velocity-XF 2 Volume 7 Pan 10 Expression 11 Reverb-Dry/Wet 14 Reverb-On/Off 15 Slot-XF 20 Start-Scaler 21 Master-Attack 22 Master-Release 23 Master-Filter 24 Delay-Scaler 25 Tuning-Scaler 26 Humanize 27 Velocity-XF-On-Off 28 Rsamp-On-Off 29 Dynamics-Scaler 30 :group Pedal Ped 64 Sost-Ped 66 Una-Corda 67 :group Matrix cc1 1 ) ) Note the omn group: :group OMN leg (:key c7) marc (:key cs7) spicc (:key d7) stacc (:key ds7 :key c1) deta (:key ds7 :key cs1) deta+vib (:key ds7 :key d1) deta+non-vib (:key ds7 :key ds1) vib (:key e7 :key c1) vib+marc (:key e7 :key cs1) non-vib (:key e7 :key f1) trem (:key fs7 :key c1 :key a0) tr1 (cc1 0 :key g7 :key c1 :key a0) tr2 (cc1 127 :key g7 :key c1 :key a0) pizz (cc1 0 :key gs7 :key c1) legno (cc1 0 :key gs7 :key cs1) secco (cc1 80 :key gs7 :key c1) snap (cc1 127 :key gs7 :key c1) harm (:key a7 :key c1 :key a0) harm2 (:key as7 :key c1 :key a0) ponte+stacc (cc1 0 :key b7 :key c1 :key a0) ponte+vib (cc1 0 :key b7 :key cs1 :key a0) ponte+deta (cc1 127 :key b7 :key c1 :key a0) ponte+trem (cc1 0 :key b7 :key ds1 :key a0) tasto+stacc (cc1 0 :key c8 :key c1 :key a0) tasto+vib (cc1 0 :key c8 :key cs1 :key a0) tasto+deta (cc1 127 :key c8 :key c1 :key a0) tasto+trem (cc1 0 :key c8 :key ds1 :key a0)
  17. Def-Instrument-Sets are sets to be used with PS function - nothing to do with sound sets. To setup sound set you need to use DEF-SOUND-SET function. In the Library directory you find many examples how to define your own sound set for your instruments.
  18. What would be the output (values) in your example, what you are looking for. Is this what you are looking for: (<midi value> <time>) (setf data (gen-osc-data 8 (flatten (pitch-to-midi (omn :pitch convert-test))) :time '(1/2 1/4 1/12 1/12 1/12) :min 1 :max 127)) => ((34 1/2) (81 1/4) (54 1/12) (87 1/12) (1 1/12) (127 1/2) (34 1/4) (54 1/12) (54 1/12) (54 1/12) (54 1/2) (54 1/4) (54 1/12) (54 1/12) (54 1/12) (54 1/2) (54 1/4) (54 1/12) (54 1/12) (54 1/12) (54 1/2) (54 1/4) (54 1/12) (54 1/12) (54 1/12) (54 1/2) (54 1/4) (54 1/12) (54 1/12) (54 1/12) (54 1/2) (54 1/4) (54 1/12) (54 1/12) (54 1/12) (54 1/2) (54 1/4) (54 1/12) (54 1/12) (54 1/12)) Or I could add an extra keyword to allow send given values: (setf midi-values '(57 64 60 65 52 71 57 60)) (setf data (gen-osc-data 8 midi-values :time '(1/2 1/4 1/12 1/12 1/12) :values :midi :loop t)) => ((57 1/2) (64 1/4) (60 1/12) (65 1/12) (52 1/12) (71 1/2) (57 1/4) (60 1/12) (57 1/12) (64 1/12) (60 1/2) (65 1/4) (52 1/12) (71 1/12) (57 1/12) (60 1/2) (57 1/4) (64 1/12) (60 1/12) (65 1/12) (52 1/2) (71 1/4) (57 1/12) (60 1/12) (57 1/12) (64 1/2) (60 1/4) (65 1/12) (52 1/12) (71 1/12) (57 1/2) (60 1/4) (57 1/12) (64 1/12) (60 1/12) (65 1/2) (52 1/4) (71 1/12) (57 1/12) (60 1/12))
  19. For now only VM Ware allows Opusmodus to work on other operating systems.
  20. MUSICA DOMANI Una giornata di studio sulle tecnologie avanzate per la composizione e l’analisi della musica con un omaggio a Bruno Maderna in occasione del centenario (1920-2020). Sabato 7 dicembre 2019 - Sala congressi del Museo di Storia Naturale Giancarlo Ligabue Fondaco dei Turchi – Santa Croce 1730 – Venezia, Italy. Inizio dei lavori : ore 9.30 - chiusura del lavori : prevista alle ore 19.30 Partecipano: Mario Baroni, musicologo, già professore ordinario dell’Università di Bologna. Bruno Bernardi, economista e professore all’Università Ca’ Foscari di Venezia, presidente di Adriaticum. Achim Bornhoeft, compositore e musicologo , Universität Mozarteum, Salzburg. Stéphane Boussuge, composer, sound designer, concert pianos technician, ricercatore presso Opusmodus Ltd. Pierre Albert Castanet, musicologue, professeur à l’Université de Rouen e au Conservatoire National Superiéur de Paris. Renzo Cresti, musicologo, docente all’Istituto Superiore di Studi Musicali "Luigi Boccherini" di Lucca. Rossana Dalmonte, musicologo, già professore ordinario dell’Università di Trento. Marco Giommoni, compositore, musicologo, ricercatore presso Opusmodus Ltd e vice presidente di Adriaticum. Janusz Podrazik, compositore e musicologo, presidente di Opusmodus Ltd. Matteo Segafreddo, compositore e saggista, docente e cultore all’Università Ca’ Foscari di Venezia. Andrea Talmelli, compositore e musicologo, presidente della SIMC. I lavori si svolgeranno in due sessioni: (1) Al mattino dopo un breve saluto del presidente della SIMC e del presidente della Adriaticum, si aprirà la prima sessione dei lavori, con la presentazione e l’illustrazione (per sintesi) del progetto Opusmodus™ un sistema integrato interattivo per la scrittura, la composizione assistita e l’analisi computazionale di opere musicali. (2) Al pomeriggio i lavori proseguiranno con un’illustrazione della composizione parametrica come strategia operativa per un domani della musica e una riflessione sull’influsso del pensiero di Bruno Maderna rispetto ad una concezione di «libertà controllata» della struttura musicale.
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