Hi Tom
If no-one has one already I'd be up for writing one. The new
developments with Haskell and SuperCollider (your system and Super
Dirt) are pretty exciting and I've been thinking I ought to get
involved.
Best wishes
Stephen
On 4 April 2016 at 08:03, wrote:
> Does anyone have a Haskell pa
It's very sad news that Paul Hudak has died. I remember pre-ordering
The Haskell School of Expression from my local Waterstones and being
genuinely excited about its arrival - here was a book that meshed both
functional programming and multimedia - wow!. As it happens college
work (and some confusi
Hi Renick
Excellent - I'll definitely go along to the Leeds night, though as an
"out-of-towner" I'll have to leave before the end to get a train home.
Do you know the running order yet?
Thanks
Stephen
--
Read the whole topic here: Haskell Art:
http://lurk.org/r/topic/B8fIDfP0bnGaTUJr9TpGW
T
Hi Alex and Henrik and Michael
Thanks for continuing the FARM workshop this year, it's a great
initiative to fly the flag for FP in creative areas.
Thanks as well to Paul, Conal and Brent for their work on last years workshop.
On 28 February 2014 00:08, alex wrote:
> FARM 2014
>
> 2nd ACM SIGPL
Hi Evan
Maybe there is something to be mined from the "OM-Chroma" research at IRCAM?
http://repmus.ircam.fr/cao/omchroma
It looks like they are using different timing resolutions to get
expressive control of "synthesizers" - in this case via Csound.
Best wishes and Happy New Year to everyone on
Hi Evan
[Comments inline... ]
On 19 December 2013 03:52, Evan Laforge wrote:
> On Fri, Dec 13, 2013 at 11:44 PM, Stephen Tetley
> wrote:
>> Hi Evan
>>
>> Ha, though miles away from being ready for public consumption my own
>> "tower of DSLs" built o
Hi Evan
Ha, though miles away from being ready for public consumption my own
"tower of DSLs" built over Csound gained symbolic notes, chords,
trills and "Solo Parts" this week. Hopefully arpeggios, tremolos and
more should follow soon.
More concretely Roger Dannenberg (Score), Stephen Travis Pope
I haven't looked Anton's work so can speak for it, but Csound itself
has Zak ports to route signals between "instruments". Zak ports are
equivalent to SuperCollider's Synth Bus.
On 2 November 2013 05:41, Evan Laforge wrote:
> ... The only way to get the sound back in was to run
> multiple csoun
The "French School" of reactive programming has mostly extended
imperative languages with reactivity (Reactive C, SugarCubes -> Java,
...).
Stephen Edwards and Edward Lee proposed "a new era of processors whose
temporal behaviour is as easily controlled as their logical function"
five years ago, s
Hi Evan
Mostly I want to generate small scores, maybe just a few bars, from "models".
There are some really nice models of aspects of music that seemingly
can be coded fairly easily - I pointed someone on this list (maybe
you?) to Francois Pachet's OO (Smalltalk) model of intervals, scales
and ch
Hi Evan
Lirio is a code generator - I consider it a macro expander / pretty
printer as ideally it expands Haskell functions into LilyPond output.
Unfortunately with LilyPond having its annoying parenthesizing syntax
a[ b c ... ] Lirio sometimes has to transform its preliminary output
during genera
Hi Evan
Thanks for the interest in Neume and Lirio.
Neume was the predecessor which used a syntax representation that has
bars, notes, chords, beams, tuplets (generalized to "n-plets") etc.
Lirio is a rethink and simplification that uses a pretty printed
representation with little tangible syntax
Hi Corbin, and welcome.
Haskore should be a good target for a "note list" format.
Note there are three "versions" of Haskore - Vintage which is circa
the original School of Expression book, Henning's extended version and
Euterpea[1] the successor to Haskell from Paul Hudak's Yale group.
[1] http
Hi Evan
In Neume - my "primitive notator" which generated LilyPond and ABC I
spent a lot of time on metrical segmentation - mostly so I could get
automatic beam grouping for ABC and LilyPond. If I remember correctly,
one of them doesn't beam automatically and the other beams by time
signature whic
On 29 May 2012 18:46, Evan Laforge wrote:
> On the subject of keyboards, they are convenient
> being cheap to buy, but it's also interesting to work with different
> tools there too. So it's worth exploring primitives which are not
> easy to use with a keyboard.
Getting very off topic - do you
Hi Evan
For a fairly comprehensive take on similar work you might find
Francois Pachet's "An Object Oriented Representation of Pitch Classes,
Intervals, Scales and Chord: The Basic MusES" useful (available on
Citeseer).
Although the code in the paper is in Smalltalk it should be pretty
easy to gl
On 16 January 2012 18:23, Yitzchak Gale wrote:
> In my experience, sharps and flats in the key signature are
> not referred to as "accidentals". They are just called
> "sharps and flats", or "the key signature". The term
> "accidentals" really is reserved for inline exceptions to
> the key signat
On 27 December 2011 22:08, Heinrich Apfelmus wrote:
> Stephen Tetley wrote:
>>
>> Incidentally, I've been working on a MIDI "animation language" for the
>> last couple of days based on the animation language in Paul Hudak's
>> book. I've want
Hi everyone - thanks for the comments so far.
Alex - I don't mean this as a criticism, but Paul Hudak's Music data
type (p288 of SoE) is a data type rather than functional - you can
pattern match on it, for instance. Your Pattern data type appears
functional though.
Functional types have been so
Hello all,
The functional view of images - image as a function from Point ->
Colour - is well practised for continuous images - Conal Elliott's
Vertigo and Pan, Jerzy Karczmarczuk's Clastic, plus Pancito,
Chalkboard and more. It's even been used for discrete pictures (i.e.
vector graphics) - Peter
On 11 March 2011 08:58, Henning Thielemann
wrote:
> [SNIP] I would have thought that the hierarchical
> structure is also better for music notation, but the actual
> implementations show, that it is not.
Haskore's structure unfortunately maps badly to LilyPond or ABC in a few ways:
Systems reall
On 22 February 2011 23:41, Evan Laforge wrote:
>
> I'm not super knowledgable about supercollider, but isn't it basically
> a synthesizer which you configure by sending OSC over, and can then
> play it by sending more OSC?
SuperCollider classically was a real-time tuned Smalltalk-like
language f
On 18 February 2011 07:00, Evan Laforge wrote:
> To my eyes the problem is in the score vs. orchestra division that
> starts with music-n languages like csound and goes all the way through
> midi sequencers. Nyquist is the only language I know of that tried to
> tackle that.
I don't think Super
On 17 February 2011 19:48, Stephen Sinclair wrote:
[SNIP]
> However, there is this common pattern in media- or simulation-oriented
> programs (like games too):
>
> 1. Initialize state.
> 2. Update state based on initial state.
> 3. Update state based on state 2.
> 4. Update state based on state 3.
Hello all
I'm the author of Wumpus (vector graphics) and Neume (music score setting).
Wumpus is on Hackage. Wumpus-Core is the stable part - it is a library
for generating PostScript and SVG from a fairly simple graphics model
that's somewhat like PostScript but is essentially stateless.
Wumpus
Hi Henning, thanks.
For me, I can live without real-time. Real-time would be nice of
course but the simplicity of Jerzy's Clarion (non-real-time, solely a
"renderer") is compelling: eliding counting the lines of code for the
stream type and the WAV file I/O, Clarion can produce audio in 2-3
lines
On 1 November 2010 17:18, Anton Kholomiov wrote:
> Temporal class
>
> Temporal class is something like timed Maybe. 'dur' takes measurement and
> 'none' stands for Nothing that lasts for some time t. It's rest for music or
> black screen for movie.
Yes the the Temporal class is in Paul Hudak's r
Hello Anton
I think the Temporal class might more simply be metric / distance
space. I can't see what 'none' is doing, 'dur' seems to be taking a
measurement. The FingerTree paper by Ralf Hinze and Ross Paterson uses
a distance space, but otherwise I haven't seen people use them in
Haskell. Its a
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