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  1. It is certainly an iconoclastic analysis, but André's script to generate Jean Barraqué's proliferating series made me want to test several Anton Webern series in his script and see how they were modified, in particular at level of their intervallic structures. It is also an opportunity to test the graphical analysis tools offered by Opusmodus. And in particular in the various circular representations for the pitches. For the interval classes, I used the circle-rythm-plot function but that would deserve, in my opinion, a specific circular representation. Sorry for my bad English. Didier ActuelJeanBarraqueExport.pdf
  2. I am in the same situation as Olo, I have just invested in a MacBook Pro 13 M1 and big disappointment Opusmodus does not run on this MBP. What causes me problem, some musician friends wanted me to show them how we worked with OPMO. Concretely, with the MBP M1 the menu window opens, you can create a workspace file but once created it is not displayed. Likewise, when you select "Opusmodus" / "Register" in the menu, no window is displayed. Note: Open Music 6.19 works fine.
  3. Hello Julio, I add to the links of the "PC Sets" utilities that of the two "assistant Bain" and the summary table of Larry Salomon. Otherwise, I particularly appreciate in OPMO "pcs-analysis" that Stéphane Boussuge underlined.: https://in.music.sc.edu/fs/bain/software/aa-v2.20d/default.htm https://in.music.sc.edu/fs/bain/software/tta-v2.3d/default.htm Table of Pitch Class Sets WEB.ARCHIVE.ORG table of pitch class sets
  4. Thanks Julio. I made other graphs, Pitchs and intervals series with in particular the results of René. I'll post them tomorrow. Bravo René. It's excellent. I have some questions about your script for you. Greetings. Didier
  5. May be ? The circular permutation for 3e, 9e, 10e et 11e notes ? J'explique plus tard. J'ai un Rdv... JeanBarraqueSerProlif.pdf
  6. Thank you for this function / script regarding "les séries proliférantes". By carrying out a research on the book "Jean Barraqué, Ecrits" and published by the "publications of the Sorbonne" I discovered this site around Jean Barraqué and in particular examples of the scores and the booklets of "Séquence (1950-55) , "Le temps restitué (1959)", "... au delà du hasard (1959)", "Chant après chant (1966)" and "Concerto (1968)". I tell myself that under the documentation that might be of interest to members : Bärenreiter Verlag - Download WWW.BAERENREITER.COM Concerning "Ecrits Jean Barraqué, réunis, présentées et annotées par Laurent Feneyrou", for those who read French, I found a communication and an article published on the site "Entretemps". The communication to "Samedi d'Entretemps of October 26, 2002," Jean Barraqué: de l'écrit, le devenir" by Franck C. Yeznikan, evokes in particular the analyzes published in the book on Beethoven, Debussy, Webern, Messiaen: Jean Barraqué : de l'écrit, le devenir WWW.ENTRETEMPS.ASSO.FR "Le Souci du Développement chez Barraqué" by François Nicolas, published in Entretemps n ° 5 in 1987, evokes the two main references of Barraqué according to the author, "Beethoven and Debussy ", his admiration of Webern and Schubert. Without forgetting the interest and taste of Barraqué concerning musical analysis. And to stay on topic on "les séries proliférantes", a theoretical explanation on this technique developed by Barraqué to escape the immutable intervallic structures of series : Le souci du développement chez Barraqué WWW.ENTRETEMPS.ASSO.FR
  7. It works very well with virtual or hardware instruments like synthesizers. With the midi ports and in particular with the USB midi instruments each instrument or synthesizer is recognized as such by OPMO. We can even do without a sequencer / Daw. For now, I have a problem with my Motu 1278 sound card that no longer receives sound from my synthesizers or any external audio input. I can nevertheless continue to work thanks to Opusmodus which after evaluation of the script sends the midi parts to the synthesizers and whose audio outputs enter the sound card of my PC (RME Fireface 800) and Ableton Live Suite 10. The synchronization is excellent. Ca fonctionne très bien avec les instruments virtuels ou hardware comme les synthétiseurs. Avec les ports midi et notamment avec les instruments midi USB chaque instrument ou synthétiseur est reconnu en tant que tel par OPMO. On peut même se passer, éventuellement, d'un séquenceur/Daw. Pour l'instant, j'ai un problème avec ma carte son Motu 1278 qui ne reçoit plus le son de mes synthétiseurs ou toute entrée audio externe. Je peux néanmoins continuer à travailler grâce à Opusmodus qui après évaluation du script envoie les parties midi dans les synthétiseurs et dont les sorties audio entre dans la carte son de mon PC (RME Fireface 800) et Ableton Live Suite 10. La synchronisation est excellente.
  8. Pianoteq Video Contest 2017. The composition was written with Opusmodus and played in Ableton Live with seven instances of Pianoteq (modified TubularBells, modified ConcertArp recording, Steinway D Classical Recording A, modified Celesta, modified Cinbalom, modified original ChurchBells, Steinway D Classical Recording BA and completed with a Ircam Solo Instruments bank instance (flute, Horn, Cello) read via the UVI Workstation.
  9. Bonjour, Cette seconde vidéo a pour objectif de mettre en exergue l'utilisation d'Opusmodus en tant qu'outil et assistant d'analyse afin d'identifier des séries dans une partition comme celle de l'Opus 22 d'Anton Webern à partir de la série originale ou de l'une de ses dérivées. De nombreuses fonctions dédiées permettent à partir d'une série de créer une ou plusieurs matrices de transpositions 12x12 P I R RI, de façon globale ou séparée (originale, rétrograde, inversion, rétrograde de l'inversion). De même, des fonctions récentes de recherche ont été intégrées dans OPMO par Janusz Podrazik. Elles permettent à partir de diverses segmentations (dyades/dicorde, tricordes, tétracordes, pentacordes, héxacordes, etc.) d'identifier une série et ses dérivées dans une matrice de transpositions 12x12 P I R RI. Ces fonctions sont utilisées afin de déterminer les "chemins" des séries de l'Opus 22 de Webern entre les mesures 1 à 13 du 1er mouvement. La vidéo se finalise sur les outils de "graphes" pour l'analyse et un récapitulatif des fonctions utilisées.
  10. Dear Julio, Sorry for the delay of the answer but I finalized a project with a baroque flutist around the tale of Andersen "The Nightingale and the Emperor of China" and whose music was written with OPMO. Indeed, the association of notation in integers with the option: text is useful. Many thanks Best! Didier
  11. I wish to analyse process of Messiaen's modes of limited transpositions. I choose one of the modes, say the 3, from OPMO's "modes" library, which gives me the mode : (c4 d4 eb4 e4 f4 g4 gs4 bb4 b4) - and its intervallic structure: (2 1 1 2 1 1 2 1). And I want to replicate the process. it's a starting point. There are 9 notes, I divide them by 3 and I get three trichords ((c4 d4 eb4) (e4 gb4 g4) (ab4 bb4 b4)) and the same 3 (1 2 1). if I select the first trichorde (c4 d4 eb4) and I report it on each of the first notes of the three trichordes c4 - e4 - ab4 from the function Pitch-Transpose-Start I get as result mode 3 but disordered : (setf mod3divide (gen-divide 3 modmessiaen3)) ; => ((c4 d4 eb4) (e4 gb4 g4) (ab4 bb4 b4)) (setf firstmodmessiaen3 (filter-first 3 modmessiaen3)) ; => (c4 d4 eb4) (setf report3 '(c4 e4 ab4)) (setf rep3 (gen-repeat 3 (list report3))) ; => ((c4 e4 ab4) (c4 e4 ab4) (c4 e4 ab4)) (setf pch3 (flatten (pitch-transpose-start firstmodmessiaen3 rep3))) ; => ((c4 e4 gs4) (d4 fs4 bb4) (eb4 g4 b4)) => (c4 e4 gs4 d4 fs4 bb4 eb4 g4 b4) This result I wanted to reorder in an upward progression and as I did not find the function, I tested pcs-prime-form but which is not adapted. But I found the function that I wanted with sort-asc and I reconstruct the mode 3 and its intervallic structure : (setf Messiaen3order (sort-asc pch3)) ; => (c4 d4 eb4 e4 fs4 g4 gs4 bb4 b4) (setf SIMessiaenMod3a (pitch-to-interval Messiaen3order)) ; => (2 1 1 2 1 1 2 1) Of course, I can combine the two functions together : (setf process3Messiaen (sort-asc (flatten (pitch-transpose-start firstmodmessiaen3 rep3)))) ; => (c4 d4 eb4 e4 fs4 g4 gs4 bb4 b4) But thank you Janusz for your questions. concerning the Pitch-transpose-Start function you had indicated to me when I wanted to recreate the multiplication chords of Pierre Boulez. Best wishes. Didier
  12. I would like to get the mode in the right order: '(c4 d4 eb4 e4 gb4 g4 ab4 bb4 b4)) and not '(d4 eb4 e4 gb4 g4 ab4 bb4 b4 c4)) Hence this question: is there a function to get an ascending order in a list rather than using pcs-normal-order? (setf modmessiaen3 '(c4 d4 eb4 e4 gb4 g4 ab4 bb4 b4)) (setf pch3 ( ? (flatten (pitch-transpose-start firstmodmessiaen3 rep3)))) => ((c4 e4 gs4) (d4 fs4 bb4) (eb4 g4 b4)) => (c4 e4 gs4 d4 fs4 bb4 eb4 g4 b4) ? If I go look for mode 3 in the library OPMO I have this: (setf Messiaen3 (pitch-transpose 0 (expand-chord-name (library 'modes 'messiaen 'messiaen-mode3) :type :pitch))) => (c4 d4 eb4 e4 fs4 g4 gs4 bb4 b4) (expand-chord-name (library 'modes 'messiaen 'messiaen-mode3) :type :interval) => (2 1 1 2 1 1 2 1) In the result with pitch-transpose-start : (c4 e4 gs4 d4 fs4 bb4 eb4 g4 b4) and => (4 4 -6 4 4 -7 4 4) => The music notes are correct but permuted. and with pcs-normal-order : (d4 eb4 e4 fs4 g4 gs4 bb4 b4 c4) => (1 1 2 1 1 2 1 -11) => The music notes are correct but permuted. I get the intervallic structure is shifted. Thanks in advance Janusz.
  13. Hello, Somewhat stupid question but I do not find a function that would allow me to reorder a sequence of pitches. Let me explain, on a forum where Messiaen's limited transposition modes are discussed, I wanted to show that with Opumodus we could very easily analyze the modes and recreate them. I have no problem with those who are in total symmetry and divisible by two, but if I take the mode 3: (c4 d4 eb4 e4 gb4 g4 ab4 bb4 b4), using the function pitch-transpose-start I get in the end the mode but according to the postponement of the intervallic structure on c4 d4 ab4 is => ((c4 e4 gs4) (d4 fs4 bb4) (eb4 g4 b4)). I tried to reorder with the function pcs-normal-order the mode is reordered but with however the c4 in last position: (d4 eb4 e4 fs4 g4 gs4 bb4 b4 c4). Now, I suppose there is a function that makes it possible to obtain the right disposition. What is it ? (setf modmessiaen3 '(c4 d4 eb4 e4 gb4 g4 ab4 bb4 b4)) (setf SIMessiaenMod3 (pitch-to-interval modmessiaen3)) ; => (2 1 1 2 1 1 2 1) (setf mod3divide (gen-divide 3 modmessiaen3)) (setf firstmodmessiaen3 (filter-first 3 modmessiaen3)) (setf report3 '(c4 e4 ab4)) (setf rep3 (gen-repeat 3 (list report3))) (setf pch3 (modus (flatten (pitch-transpose-start firstmodmessiaen3 rep3)))) (setf MessiaenMod3 (pcs-normal-order pch3 :pitch)) (setf SIMessiaenMod3a (pitch-to-interval MessiaenMod3)) ; => (1 1 2 1 1 2 1 -11) (setf mod3chordsM (melodize '((c4eb4gb4) (d4gb4bb4) (eb4gb4bb4) (e4g4b4) (gb4bb4db5) (g4b4d5) (ab4b4d5) (bb4gb5) (b4d5gb5)))) (setf analysechords3 (pcs-analysis (integer-to-pitch (modus mod3chordsM)))) In particular, this distorts the analysis of the interstellar structure of mode 3: of (2 1 1 2 1 1 2 1) I get (1 1 2 1 1 2 1 -11) Besides, there is probably a more efficient script than the one I tried? Best. Didier PS : In fact, I realize that the function pcs-normal-order is not adapted at all according to the modes.
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