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Deb76

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  1. Like
    Deb76 reacted to opmo in Opusmodus Update 3.0.29191   
    To streamline the process of importing SPEAR spectral data into the Opusmodus Library, the three-step procedure has been consolidated into a singular operation. Consequently, the IMPORT-SPECTRAL-SPEAR function has been deprecated and superseded by the newly introduced SPEAR-DATA-TO-LIBRARY function. This enhancement simplifies the importation of SPEAR data in the form of .txt files into Opusmodus, making it more straightforward.
    ----- SPEAR-DATA-TO-LIBRARY &key data name section index note
     
    This function processes and imports spectral data from the SPEAR (Sinusoidal Partial Editing Analysis and Resynthesis) application, developed by Michael Klingbeil. SPEAR is a sophisticated tool for audio analysis, editing, and synthesis, based on the McAulay-Quatieri technique. It represents sounds using sinusoidal tracks or 'partials', each track depicting a sinusoidal wave with time-varying frequency and amplitude.
     
    The resynthesis process in SPEAR, which involves computing and summing all sinusoidal waves, can closely approximate the original sound. The sinusoidal model used in SPEAR provides extensive analytical detail about time-varying frequency content and allows for significant flexibility in sound editing and manipulation. SPEAR supports real-time synthesis of numerous partials, extensive editing features like cut, paste, undo/redo, and handles various standard file formats for data import/export.
     
    SPEAR, available at http://www.klingbeil.com/spear/, is free software. It exports two types of spectral data: two-point data (frequency and amplitude, referred to as 'frames') and three-point data (time, frequency, and amplitude, referred to as 'partials').
     
    The initial step in using this function is to place the SPEAR-generated data file in the ~/Opusmodus/Spectrum Data/Data/ directory. SPEAR-DATA-TO-LIBRARY will locate the data file in this directory, convert it, and save a new file in the ~/Opusmodus/Spectrum Data/Partials/ folder. Ultimately, the resultant ‘library’ file will be stored in the ~/Opusmodus/User Source/Libraries/Def-Library/ directory.
     
    Examples:
     
    Generate a library with frames (two-point data):
     
    (spear-data-to-library :data "mar-frames"    ; Original SPEAR file name (.txt). :name 'mar-frames     ; Name for the generated library. :section 'frames     ; Name of the library section. :index 'p            ; Index name for each partial. )  
    The structure of the frames library file is envisioned as follows:
     
    (in-package :Opusmodus) ;;; ----------------------------------------------------------- ;;; Library | Opusmodus Version 3.0.29183 | 2024-01-31 13:00:37 ;;; ----------------------------------------------------------- (def-library mar-frames (:section frames   p0 '(13.312057 0.007893 77.37494 0.003534 118.87299 0.027961 . . .  
    Generate a library with partials (three-point data):
     
    (spear-data-to-library :data "mar-partials" ; Original SPEAR file name (.txt). :name 'mar-partials  ; Name for the generated library. :section 'partials   ; Name of the library section. :index 'p            ; Index name for each partial. )  
    The structure of the partials library file is envisioned as follows:
     
    (in-package :Opusmodus) ;;; ----------------------------------------------------------- ;;; Library | Opusmodus Version 3.0.29183 | 2024-01-31 13:02:10 ;;; ----------------------------------------------------------- (def-library mar-partials (:section partials   p0 '(0.0 15731.577 3.0E-4 0.012495 15730.756 2.9E-4 0.024989 . . .  
    Best wishes,
    Janusz
  2. Like
    Deb76 got a reaction from opmo in FFT functions : Code change?   
    Hello Stephane,
    Thank you for the answer. And I feel a little stupid, because I don't know why I thought that because of the name change, a code for the entire update had to be changed in order for it to be effective. And it's all the more stupid that I have already changed the codes when Janusz had modified them. In short, probably fatigue...
    And these two new functions, I tested them from the first update with their old names (fft-h & fft-w). All these functions which can be visualized via graphs and translated musically interest me a lot for an upcoming project with a painter friend and in which the music Opusmodus will have a preponderant place.
    Best wishes. 
    Didier
     
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    Bonjour Stéphane, 
    Merci pour la réponse. Et je me sens un peu stupide, car je ne sais pas pourquoi j'ai pensé qu'en raison du changement de nom, il fallait changer un code concernant la totalité de l'update afin qu'elle soit effective. Et c'est d'autant plus stupide que j'ai déjà changé les codes lorsque Janusz les avaient modifiés. Bref, vraisemblablement la fatigue... 
    Et ces deux nouvelles fonctions, je les avais testées dès la première mise à jour avec leurs anciennes appellations (fft-h & fft-w). Toutes ces fonctions qui peuvent-être visualisées via des graphes et traduites musicalement m'intéressent beaucoup pour un projet à venir avec une amie artiste peintre et dans lequel pour la musique Opusmodus aura une place prépondérante. 
    Amitiés.
    Didier
  3. Like
    Deb76 got a reaction from Stephane Boussuge in FFT functions : Code change?   
    Hello Stephane,
    Thank you for the answer. And I feel a little stupid, because I don't know why I thought that because of the name change, a code for the entire update had to be changed in order for it to be effective. And it's all the more stupid that I have already changed the codes when Janusz had modified them. In short, probably fatigue...
    And these two new functions, I tested them from the first update with their old names (fft-h & fft-w). All these functions which can be visualized via graphs and translated musically interest me a lot for an upcoming project with a painter friend and in which the music Opusmodus will have a preponderant place.
    Best wishes. 
    Didier
     
    Facebook
    WWW.FACEBOOK.COM Facebook
    WWW.FACEBOOK.COM Facebook
    WWW.FACEBOOK.COM  
    Bonjour Stéphane, 
    Merci pour la réponse. Et je me sens un peu stupide, car je ne sais pas pourquoi j'ai pensé qu'en raison du changement de nom, il fallait changer un code concernant la totalité de l'update afin qu'elle soit effective. Et c'est d'autant plus stupide que j'ai déjà changé les codes lorsque Janusz les avaient modifiés. Bref, vraisemblablement la fatigue... 
    Et ces deux nouvelles fonctions, je les avais testées dès la première mise à jour avec leurs anciennes appellations (fft-h & fft-w). Toutes ces fonctions qui peuvent-être visualisées via des graphes et traduites musicalement m'intéressent beaucoup pour un projet à venir avec une amie artiste peintre et dans lequel pour la musique Opusmodus aura une place prépondérante. 
    Amitiés.
    Didier
  4. Like
    Deb76 reacted to opmo in Opusmodus 3.0.28930 Update   
    New function: FFTH, FFTW
    Brownian motion functions are rewritten. If you used them before please check the documents.
    Improvement to probability functions.

    FFTH
    num-of-harmonics step-resolution points &key type quantize coeff ambitus
     
    The function FFTH calculates the Fast Fourier Transform (FFT) of a given list of points. The FFT is a mathematical algorithm that transforms a function of time (a signal) into a function of frequency. In the context of digital signal processing, the FFT algorithm is used to identify the frequencies present in a discrete signal.
     
    The computation involves the following steps:
    Initialization: Arrays for amplitude, phase, harmonics-matrix, and fftx are initialized.
     
    Coefficient calculation: The function then calculates coefficients for the FFT, looping over the input data points. This is done using a complex number, where amplitude corresponds to the real part and phase to the imaginary part.
     
    FFT curve computation: After the coefficients have been calculated, the function uses them to calculate the FFT curve by looping over a set of x-values and summing up the contributions from each coefficient.
     
    Transformation of the results based on the type of output specified: If type is 'integer, the function rounds the FFT output to the nearest integer. If it's 'pitch, it converts the FFT output to pitches, quantizes them, and limits them to the specified ambitus. If no type is specified, the raw data points of the FFT curve are returned.
     
    Examples:
     
    (ffth 8 0.05 '(44 52 22 68 6 22 9 73 28 68))   
     
    (ffth 8 0.05 '(44 52 22 68 6 22 9 73 28 68)        :type 'pitch :ambitus '(c3 c5))
     
    (ffth 3 0.05 '(44 52 22 68 6 22 9 73 28 68)        :type 'pitch :coeff 1.0 :ambitus '(c3 c5))
     
    (ffth 8 0.05 '(44 52 22 68 6 22 9 73 28 68)        :type 'pitch :ambitus '(c3 c5) :quantize 1/4)
     
     
    FFTW
    data &key window normalize coefficients scale-factor phase
     
    This function performs a Fast Fourier Transform (FFT) on the input data. The FFT is a widely-used algorithm for computing the Discrete Fourier Transform, which decomposes a sequence of numbers into components of different frequencies.
     
    If a windowing function is provided via the window keyword parameter, this function is used to create a "window" that is applied to the input data before performing the FFT. Windowing can help to reduce "leakage" and "picket fence" effects (artifacts caused by the finite length of the input data).
     
    If the normalize keyword parameter is true (the default), the FFT results are normalized by dividing each component by the length of the input data. This makes the results independent of the length of the input data and can make them easier to interpret.
     
    The coefficient parameter in the FFTW function serves to modify the amplitude of the output data. Each output value of the FFT is multiplied by this coefficient, effectively scaling the amplitude of the frequency components.
     
    The implementation of this FFT function is recursive, meaning it repeatedly breaks down the problem into smaller parts until it reaches a base case where the FFT can be computed directly. This makes it efficient for large datasets.
     
    Note that this function requires the length of the input data to be a power of 2. If the length of the input data is not a power of 2, it is padded with zeros up to the next power of 2. This is because the FFT algorithm is most efficient when the length of the input data is a power of 2.
     
    If you only care about the magnitudes of the frequency components, you can take the absolute value of each number in the result:
     
    (setf data '(0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15))
     
    If you also care about the phase information, you can use the phase option to extract the phase of each number:
     
    (fftw data :phase t)
     
    Examples:
    In this example, a Blackman-Harris window is applied to the input data:
     
    (fftw data :window 'blackman-harris-window)
     
    No normalization is performed:
     
    (fftw data :window 'blackman-harris-window :normalize nil)
     
    Compute FFT with Gaussian window:
     
    (fftw data :window 'gaussian-window)
     
    Compute FFT with Ultraspherical window:
     
    (fftw data :window 'ultraspherical-window)
     
    Examples with all available window functions:
    (fftw data :window 'bartlett-hann-window) (fftw data :window 'bartlett-window) (fftw data :window 'blackman-harris-window) (fftw data :window 'blackman-nuttall-window) (fftw data :window 'blackman-window) (fftw data :window 'bohman-window) (fftw data :window 'cauchy-window) (fftw data :window 'connes-window) (fftw data :window 'cosine-window) (fftw data :window 'exponential-window) (fftw data :window 'flat-top-window) (fftw data :window 'gaussian-window) (fftw data :window 'hamming-window) (fftw data :window 'hann-poisson-window) (fftw data :window 'hanning-window) (fftw data :window 'kaiser-window) (fftw data :window 'nuttall-window) (fftw data :window 'parzen-window) (fftw data :window 'planck-taper-window) (fftw data :window 'rectangular-window) (fftw data :window 'riemann-window) (fftw data :window 'triangular-window) (fftw data :window 'tukey-window) (fftw data :window 'ultraspherical-window) (fftw data :window 'welch-window)  
    Best wishes,
    Janusz
  5. Like
    Deb76 reacted to estevancarlos in I've been waiting for the Windows port for a few years   
    This seems like an amazing tool and I'm excited to get a lot out of this. I'm glad to see the Windows version has come into existence. Thank you to everyone for putting in all of that hard work.
  6. Like
    Deb76 reacted to JulioHerrlein in Opsumodus for Windows Tutorial   
    Opusmodus 3.0 for Windows ( Basic Install and Workflow Setup )
    In this video there is a tutorial for the installation and setup of Opusmodus 3.0 for Windows computers. 
    It also shows the Loop Midi Setup and integration with Reaper, Musescore and Libre Office.
     
    LINKS
    OPUSMODUS 3.0 - Windows
    https://opusmodus.com/forums/downloads/
     
    LOOP MIDI - Virtual Midi ports - Tobias Erichsen
    https://www.tobias-erichsen.de/software/loopmidi.html
     
    REAPER
    https://www.reaper.fm/
     
    MUSESCORE
    https://musescore.org
     
    LIBRE OFFICE
    https://www.libreoffice.org/
     
    CHAPTERS
    00:00 - Intro
    00:59 - Install Opusmodus
    02:41 - First Look at Opusmodus Standalone
    04:25 - Midi Setup
    05:23 - Loop Midi Install
    05:53 - Virtual Ports Setup 
    06:30 - Selecting Midi Inputs and Midi Entry
    07:00 - DAW Midi Loop Setup (Reaper)
    09:19 - Def-Instrument-set creation and setup midi
    11:42 - Preview Score with def-instrument-set using VST and Reaper
    12:20 - OMN for creating musical ideas
    12:44 - Using the Preview Score with VST sounds in Reaper
    14:36 - Opusmodus and Notation Software - Musescore
    15:21 - Opusmodus and word processor software - Libre Office
  7. Like
    Deb76 got a reaction from Stephane Boussuge in OPUSMODUS 3 WINDOWS - MIDI SETUP ABLETON   
    Hello RevJames, 
    I use Ableton Live 11 suite with OPMO to send the different midi parts into Live. It works very well and allows you to use all of Live's tools, native synthesizers, third-party virtuals, hardware synths, etc.
    LoopMidi works great for creating the virtual ports needed in Windows to play midi parts on a Daw/Stan. Once open, just click + to add a port.
    In Ableton Live or other Daw, check in Preferences if the ports are active. Then, just assign them in the instruments/midi track.
    Be careful, do not forget in Opusmodus to check their assignments with (midi-destinations)_CTRL E.
    I made a small PDF to summarize this topic. And since you work with Ableton Live, I'm interested in sharing.
    LoopPortsOpmo.pdf
  8. Thanks
    Deb76 got a reaction from Pli in OPUSMODUS 3 WINDOWS - MIDI SETUP ABLETON   
    Hello RevJames, 
    I use Ableton Live 11 suite with OPMO to send the different midi parts into Live. It works very well and allows you to use all of Live's tools, native synthesizers, third-party virtuals, hardware synths, etc.
    LoopMidi works great for creating the virtual ports needed in Windows to play midi parts on a Daw/Stan. Once open, just click + to add a port.
    In Ableton Live or other Daw, check in Preferences if the ports are active. Then, just assign them in the instruments/midi track.
    Be careful, do not forget in Opusmodus to check their assignments with (midi-destinations)_CTRL E.
    I made a small PDF to summarize this topic. And since you work with Ableton Live, I'm interested in sharing.
    LoopPortsOpmo.pdf
  9. Thanks
    Deb76 got a reaction from opmo in OPUSMODUS 3 WINDOWS - MIDI SETUP ABLETON   
    Hello RevJames, 
    I use Ableton Live 11 suite with OPMO to send the different midi parts into Live. It works very well and allows you to use all of Live's tools, native synthesizers, third-party virtuals, hardware synths, etc.
    LoopMidi works great for creating the virtual ports needed in Windows to play midi parts on a Daw/Stan. Once open, just click + to add a port.
    In Ableton Live or other Daw, check in Preferences if the ports are active. Then, just assign them in the instruments/midi track.
    Be careful, do not forget in Opusmodus to check their assignments with (midi-destinations)_CTRL E.
    I made a small PDF to summarize this topic. And since you work with Ableton Live, I'm interested in sharing.
    LoopPortsOpmo.pdf
  10. Like
    Deb76 reacted to opmo in Opusmodus 3.0 Windows   
    OM v.3.0 Windows ready for download:
    https://opusmodus.com/forums/downloads
     
    LoopMIDI is a third-party application that allows you to create virtual MIDI ports on your Windows system:
     
    loopMIDI | Tobias Erichsen
    WWW.TOBIAS-ERICHSEN.DE  
  11. Like
    Deb76 reacted to Bendrix in Apple M1 Arm processor?   
    Any updates on this issue? I'm regretting my M1 "upgrade" and am missing Opusmodus' full functionality.

     
     
  12. Thanks
    Deb76 got a reaction from AM in An analysis of proliferating series with the analysis tools of Opusmodus   
    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
  13. Like
    Deb76 got a reaction from JulioHerrlein in An analysis of proliferating series with the analysis tools of Opusmodus   
    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
  14. Thanks
    Deb76 got a reaction from opmo in An analysis of proliferating series with the analysis tools of Opusmodus   
    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
  15. Like
    Deb76 reacted to opmo in Opusmodus 2.2.26529   
    New Function:
     
    search-for-pattern
     
    This function searches for a recurring pattern in a sequence.
    The result is a bar number in which the pattern has been found and a count number of the recurrence in the bar.
    The pitch and interval element returns a variant recurrence if found.
     
    (setf rh '((-s) (e f4e5 pp -s db5)            (-s) (-s eb4 pp c4d5 -)            (-s) (-s c4d5 pp eb4 -)            (-s) (e db5 pp -s f4e5)            (-s) (s gb4f5 p a5 -)            (s d4ab4db5 p bb4 -) (-s a5 p gb4f5)            (-s) (s b5 f gb4g5 -)            (s a3bb4 f ab4 -) (s c4d5 f> eb4 -)            (s db5 f> f4e5 -) (-s)            (s gb4f5 p a5 d4ab4db5 bb4 -) (-s)            (-s a5 pp gb4f5) (-s)            (-t b2 f e3 bb3 - d5 c4eb4) (-s)            (s db3 f - s. g5 -t) (s gb4f5 p)            (-t a3 mp ab3 mf -s. t db5f5 f c4 -) (s e3e4 p)            (-t s. d2 f -s ab5 mf) (-s)            (t gb4a4 p g3 mp - b2 f e3 bb3 e3 a3 eb4 - g5 mf f4ab4 mp) (-s)            (s f2 f - s. c6 -t) (s b2bb3 p)            (-s t db5 mp -s. t gb5bb5 f4 f -) (t a3 f ab2 - ab2 a3)            (-t f4 f gb5bb5 mf) (-t a3 mp d4ab4 c4 p bb5db6 mf)            (-t b2 f3 b2 -) (t bb5db6 c5 f d4ab4 a3 p)            (-s) (t b4eb5 p bb3 -)            (t d4 p db3 - db3 d4) (-t bb3 p b4eb5)            (-s) (-s eb5 p bb3b4 -) (-s)            (e d4db5 p -s c5) (-s)            (e c5 p -s d4db5) (-s)            (-s bb3b4 p eb5 -) (-s)            (-s ab3g4 p e4 mf) (-s c4gb4b4 f5)            (-s db5 mp bb3a4) (-s)            (-s eb4d5 p gb4) (-s e4 p f3g4)            (-s b3 p a2bb3) (-s c5db6 pp ab5)            (-s) (-s e5eb6 p g5 c4f4b4 p> gb4)            (-s) (-e) (e d5ab5db6 pp)))  
     
    (search-for-pattern '(eb4 c4d5) rh                     :element :pitch                     :name "Webern, Variationen für Klavier Op.27, I, rh") ..................................................... Score: Webern, Variationen für Klavier Op.27, I, rh Pitches: (eb4 c4d5) Prime:   bar: 4  count: 1 Retrograde:   bar: 6   count: 1   bar: 16  count: 1 Inversion: none Retrograde-inversion: none .....................................................  
     
    (search-for-pattern '(eb4 c4 d5) rh                     :melodize t                     :element :pitch                     :name "Webern, Variationen für Klavier Op.27, I, rh") ..................................................... Score: Webern, Variationen für Klavier Op.27, I, rh Pitches: (eb4 c4 d5) Prime:   bar: 4  count: 1 Retrograde:   bar: 23  count: 1 Inversion: none Retrograde-inversion: none .....................................................  
     
    (search-for-pattern '(-8 11) rh                     :element :interval                     :melodize t                     :name "Webern, Variationen für Klavier Op.27, I, rh") ..................................................... Score: Webern, Variationen für Klavier Op.27, I, rh Intervals: (-8 11) Prime:   bar: 8   count: 1   bar: 17  count: 1 Retrograde:   bar: 58  count: 1   bar: 63  count: 1 Inversion: none Retrograde-inversion: none .....................................................  
     
    (search-for-pattern '(t t t t) rh                     :element :length                     :name "Webern, Variationen für Klavier Op.27, I, rh") ..................................................... Score: Webern, Variationen für Klavier Op.27, I, rh Lengths: (1/32 1/32 1/32 1/32) Found:   bar: 31  count: 1   bar: 38  count: 1   bar: 40  count: 1 .....................................................  
     
    (search-for-pattern '(mp p mf) rh                     :element :velocity                     :name "Webern, Variationen für Klavier Op.27, I, rh") ..................................................... Score: Webern, Variationen für Klavier Op.27, I, rh Velocities: (mp p mf) Found:   bar: 38  count: 1 .....................................................  
     
    (search-for-pattern '(stacc) rh                     :element :attribute                     :name "Webern, Variationen für Klavier Op.27, I, rh") ..................................................... Score: Webern, Variationen für Klavier Op.27, I, rh Attributes: (stacc) Found: none .....................................................  
    Search for pattern in none omn-form sequence:
     
    (search-for-pattern '(1 2 3) '((1 2 3 1 2 3) (4 1 2 3 4 5 6))) ..................................................... Score: nil Values: (1 2 3) Found:   list: 1  count: 2   list: 2  count: 1 .....................................................  
     
    series-analysis
     
    This function searches for recurring series in a sequence.
    The result is a size and count number of high recurring series and longest recurring series found in a sequence.
     
    Searching for pitches:
     
    (series-analysis rh                  :element :pitch                  :name "Webern, Variationen für Klavier Op.27, I, rh") ..................................................... Score: Webern, Variationen für Klavier Op.27, I, rh High recurrence series:   found: (gb4 f5) size: 2 count: 5 Longest recurrence series:   found: (c4 d5 eb4 db5 f4 e5 gb4 f5 a5 d4 ab4 db5 bb4 a5 gb4 f5) size: 16 count: 2 .....................................................  
    Searching for intervals:
     
    (series-analysis rh                  :element :interval                  :name "Webern, Variationen für Klavier Op.27, I, rh") ..................................................... Score: Webern, Variationen für Klavier Op.27, I, rh High recurrence series:   found: (5 6) size: 2 count: 6 Longest recurrence series:   found: (14 -11 10 -8 11 -10 11 4 -19 6 5 -3 11 -15 11) size: 15 count: 2 .....................................................  
    Searching for lengths:
     
    (series-analysis rh                  :element :length                  :name "Webern, Variationen für Klavier Op.27, I, rh") ..................................................... Score: Webern, Variationen für Klavier Op.27, I, rh High recurrence series:   found: (1/16 -1/16) size: 2 count: 29 Longest recurrence series:   found: (1/16 -1/16 1/16 1/16 -1/16 1/16 1/16 -1/16 -1/16           1/16 1/16 -1/16 1/16 1/16 -1/16 1/16 1/16 -1/16           1/16 1/16 -1/16) size: 21 count: 2 .....................................................  
    Searching for velocities:
     
    (series-analysis rh                  :element :velocity                  :name "Webern, Variationen für Klavier Op.27, I, rh") ..................................................... Score: Webern, Variationen für Klavier Op.27, I, rh High recurrence series:   series: (p p) size: 2 count: 18 Longest recurrence series:   found: (mp f f f f f f mf mp) size: 9 count: 2   found: (p p p p p p p p p) size: 9 count: 2 .....................................................  
    Searching for values:
     
    (setf population (gen-population 16 3 7)) (setf pitches (vector-to-pitch 'piano population)) (series-analysis pitches) ..................................................... Score: nil High recurrence series:   found: (a0 c8) size: 2 count: 6 Longest recurrence series:   found: (a0 c8 a0) size: 3 count: 2   found: (a0 c8 b7) size: 3 count: 2 .....................................................  
     
    (series-analysis (modus pitches)) ..................................................... Score: nil High recurrence series:   found: (9 0) size: 2 count: 7 Longest recurrence series:   found: (0 7 9 5 0) size: 5 count: 2 .....................................................  
     
    remove-series
     
    The function REMOVE-SERIES removes a number of successive items from a list.
     
    (remove-series 3 '(c4 cs4 fs4 f4 b4 c4)) => (f4 b4 c4) (remove-series 3 '(c4 cs4 fs4 f4 b4 c4) :from-end t) => (c4 cs4 fs4)  
    Best wishes, stay safe,
    Janusz
  16. Thanks
    Deb76 got a reaction from JulioHerrlein in Jean Barraqué - "séries proliférantes"   
    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
     
  17. Like
    Deb76 got a reaction from JulioHerrlein in Jean Barraqué - "séries proliférantes"   
    May be ? The circular permutation for 3e, 9e, 10e et 11e notes ? J'explique plus tard. J'ai un Rdv...
    JeanBarraqueSerProlif.pdf
  18. Like
    Deb76 got a reaction from opmo in Jean Barraqué - "séries proliférantes"   
    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  

  19. Thanks
    Deb76 got a reaction from JulioHerrlein in Jean Barraqué - "séries proliférantes"   
    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  

  20. Like
    Deb76 got a reaction from AM in Jean Barraqué - "séries proliférantes"   
    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  

  21. Like
    Deb76 got a reaction from opmo in Request: make-omn   
    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
  22. Thanks
    Deb76 got a reaction from JulioHerrlein in Request: make-omn   
    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
  23. Like
    Deb76 got a reaction from opmo in Looking for a Function to reorder a series of progressing ascending pitches?   
    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

  24. Like
    Deb76 got a reaction from JulioHerrlein in Request: make-omn   
    Dear Julio
    Thank you for your reply, but that's not what I want. I know the integer-to-pitch function well, I use it in my musical analysis with the tools of the Set Theory. And precisely, at my request, in order to be able to add the notation mod12 on a partition, Janusz created the insertion of integers via num0 ... num11.
    What I want is for make-omn to recognize the num parameter, either directly or by being able to add to :length, :pitch, :articulation, :velocity, the parameter :num or other name.
     
    I made an example from a row extracted from the Library Vienna. By adding in the series the notation in integers with the parameter num one realizes that this notation does not appear in the score from make-omn :
    (setf dur (gen-repeat 12 'q) )
    (setf op29webernLib (expand-libraries '(library vienna webern r19)))
    (setf op29webernNumMO '(ds4 num3 b4 num11 d4 num2 cs4 num1 f4 num5 e4 num4 g4 num7 fs4 num6 as4 num10 a4 num9 c4 num0 gs4 num8))
    (setf webernop29_OMN 
                (make-omn 
                :length  dur 
                :pitch op29webernNumMO
                ))
    Unlike the notation as follows:
    (setf op29webernNum1 '(q ds4 num3 b4 num11 d4 num2 cs4 num1 f4 num5 e4 num4 g4 num7 fs4 num6 as4 num10 a4 num9 c4 num0 gs4 num8))
     
     
    Best.
    Didier
    Stéphane bonsoir, 
    Réponses croisées. Merci. Je n'avais pas pensé à l'intégrer en tant qu'articulation.  Merci donc. Et je viens de vérifier en ajoutant aussi des articulations (num0+marc, num11+stacc...) ça fonctionne. C'est impeccable. 
     
    Cross responses. Thank you. I had not thought of integrating it as an articulation. Thank you so. And I just checked by adding also joints (num0 + marc, num11 + stacc ...) it works. It's impeccable.
     
    Best.
    Didier
  25. Like
    Deb76 got a reaction from Stephane Boussuge in Opusmodus 1.3 crashing   
    Hello,
    The update was carried out without problem following the instructions in particular by deleting the file Opusmodus in Documents. The upgrade has been installed on the Mojave OS 10.14.2. and it runs without any problem.I particularly appreciate in this new version the functions circle-pitch-plot, circle-rhythm-plot, xy-plot, and the pcs-rhythm. Very useful tools for musical analysis. The ivory background for rendering the scores is very nice too.
    Best,
    Didier
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