― Attachment links are at the end of this email ―
Em 15-05-2014 17:18, Hudak, Paul escreveu:
Ok, yes, this could be done easily in Euterpea.
Another great feature then... ! :-)
best,
Miguel
Haskell Art now contains the following file
Am 14.05.2014 12:03, schrieb alex:
Dear all,
This is the last email to the haskell-art mailing list, as hosted by mailman.
To continue receiving messages to haskell-art, make sure you are
subscribed to the new groupserver forum here:
http://lurk.org/groups/haskell-art/
It seems the new
it seems that my comment got lost ...
Am 14.05.2014 00:44, schrieb Ben Burdette:
I'm doing a project where incoming values from sensors are to be turned
into music. currently I have a haskell program that scans the sensors
and generates OSC messages as a result. So far so good.
How about
On Thu, May 15, 2014 at 11:53:31AM +0200, Henning Thielemann wrote:
It seems the new web-site requires javascript in order to see the
archive of posts. That's a real regression compared to the former setup. :-(
I share your contempt for JavaScript (big smile)!
If you want to follow new
Am 15.05.2014 12:27, schrieb Francesco Ariis:
If you want to follow new topics and posts sans js, you *can* do it via the
built-in RSS feeds [1] [2] (or alternatively using Gmane [3], which comes with
two different interfaces)
That's good news.
[3]
-Original Message-
From: haskell-...@group.lurk.org [mailto:haskell-...@group.lurk.org] On Behalf
Of Miguel Negrão
Sent: Thursday, May 15, 2014 5:41 AM
To: haskell-...@group.lurk.org
Subject: Re: [haskell art] haskell-art] euterpea realtime? or other realtime
audio in haskell
― Attachment links are at the end of this email ―
Em 15-05-2014 16:02, Hudak, Paul escreveu:
Euterpea has what we call clock polymorphism, with which signal
functions can be defined that are polymorphic in the sampling rate.
And there is a simple mechanism to coerce from one rate to another.
Ok, yes, this could be done easily in Euterpea.
-Original Message-
From: haskell-...@group.lurk.org [mailto:haskell-...@group.lurk.org] On Behalf
Of Miguel Negrão
Sent: Thursday, May 15, 2014 12:11 PM
To: haskell-...@group.lurk.org
Subject: Re: [haskell art] haskell-art] euterpea
10:12 AM
To: haskell-...@group.lurk.org
Subject: Re: [haskell art] Haskell art in the media
Greetings lurkers.
Up-front: apologies for hijacking the thread :)
Without having spent time looking at the source code for tidal or other
Haskell-based music-making tools (excuse my ignorance already
Am 14.04.2014 02:49, schrieb Evan Laforge:
I know the question isn't for me, but I do the same kind of stuff and
the gc isn't a problem for me because latency is not a problem. I
think only time latency is relevant is when you want external input to
immediately have a reaction. So basically
[response
On Mon, Apr 14, 2014 at 1:41 AM, alex a...@slab.org wrote:
Yes, live coders are quite distant from the sound in this respect, so
latency is less of a concern.
It is often a concern though, generally with music interfaces you do
want to hear and then manipulate a sound directly,
On 13 April 2014 03:35, Hudak, Paul paul.hu...@yale.edu wrote:
This is very cool! Although I see some Haskell code in the video, at 1:50 in
the first link there is an imperative language being used as well -- looks
like C. So, are the two integrated somehow, or are these two different
― Attachment links are at the end of this email ―
Hi
Em 12-04-2014 20:42, alex escreveu:
To answer Miguel's question, in Tidal I currently have it set to 0.04
seconds. This is to cope with network delay, and the audio buffer size
in the jack audio daemon.
So in practice, the haskell gc is
Hi all,
I thought some of you might be entertained to see Haskell making music in
Amsterdam (in Dutch and some English):
http://motherboard.vice.com/nl/read/algorave-coden-in-de-club
and in London (in French):
https://www.youtube.com/watch?v=X_NQKPH91kM
There's a few more recent interviews
― Attachment links are at the end of this email ―
Em 12-04-2014 15:36, alex escreveu:
Hey Karsten,
I didn't put a lot of thought into diving into Haskell either, I
think this is the best way :)
Personally I don't do realtime scheduling in Haskell, I send OSC
messages, which include
On 12 April 2014 20:27, Karsten Gebbert k...@ioctl.it wrote:
I remember now that you and others mention
latency, that in SuperCollider one can set a server latency argument,
which, when set to 0, lead to the kind of jitter I was experiencing.
Yes I think in supercollider the default latency is
Cool! Thanks for sharing these videos -- inspiring stuff.
There's a weird repeat of the entire Alexandra Cardnas section in the
middle of the French video -- was that in the original broadcast?
Tom
On Sat, Apr 12, 2014 at 12:02 AM, alex a...@slab.org wrote:
Hi all,
I thought some of you
On 12.04.2014, at 21:42, alex a...@slab.org wrote:
On 12 April 2014 20:27, Karsten Gebbert k...@ioctl.it wrote:
I remember now that you and others mention
latency, that in SuperCollider one can set a server latency argument,
which, when set to 0, lead to the kind of jitter I was
Bernardo left a message for you
Its sender and content will be shown only to you and you can delete it at any
time. You can instantly reply to it, using the message exchange system. To find
out what was written to you, just follow this link:
Evan Laforge schrieb:
This sounds like something I've noticed, and if it's the same thing, I
agree. But I disagree that you need to separate orchestra and score
to get it. Namely that notes are described hierarchically (e.g.
phrase1 `then` phrase2 :=: part2 or whatever), but that many
On 11 March 2011 08:58, Henning Thielemann
lemm...@henning-thielemann.de 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
On Fri, Feb 25, 2011 at 5:58 AM, Hudak, Paul paul.hu...@yale.edu wrote:
FWIW, I like the score / orchestra distinction. It’s not going to solve
all problems, but it’s pretty convenient most of the time. In Euterpea we
actually extend the idea in a couple of ways. First, you can label any
Of Anton Kholomiov
Sent: Sunday, February 20, 2011 5:30 AM
To: haskell-art@lurk.org
Subject: Re: [haskell-art] Haskell art?
I've thought about it too. When you compose notes and then apply instruments
you get sound and not notes of sound or event it is notes of sound it is nice
to be able to convert
that would load it and
communicate with it.
Steve
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On 22 February 2011 23:41, Evan Laforge qdun...@gmail.com 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
Stephen Tetley schrieb:
On 22 February 2011 23:41, Evan Laforge qdun...@gmail.com wrote:
Can you write 'inst2 pitch = reverse (inst1 pitch)'?
Is 'inst2 pitch = reverse (inst1 pitch)' the backwards instrument? My
first thought would be this is hard to write in any continuous
language even
On Wed, Feb 23, 2011 at 8:50 AM, Stephen Tetley stephen.tet...@gmail.comwrote:
On 22 February 2011 23:41, Evan Laforge qdun...@gmail.com 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
On 2/23/11 1:07 PM, John Lato wrote:
SuperCollider classically was a real-time tuned Smalltalk-like
language for sound synthesis. The language allows you to do pretty
much any symbolic processing you would expect - of course some things
will be easy whereas others will be hard.
On Sun, Feb 20, 2011 at 3:45 AM, Stephen Tetley
stephen.tet...@gmail.com wrote:
On 18 February 2011 07:00, Evan Laforge qdun...@gmail.com 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
On Sun, Feb 20, 2011 at 12:37 PM, Henning Thielemann
lemm...@henning-thielemann.de wrote:
On Thu, 17 Feb 2011, Evan Laforge wrote:
However, I've basically given up on that for the moment in favor of
just generating MIDI. Just composition is already really complicated
without throwing signal
On Tue, 22 Feb 2011, Evan Laforge wrote:
I had written some simple conversion from a text presentation of a OctaMED
module to Haskore. Maybe you find it useful:
http://code.haskell.org/haskore/revised/core/src/Haskore/Interface/MED/Text.hs
Indeed, I very well might. I have a bunch of music
?
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On 18 February 2011 07:00, Evan Laforge qdun...@gmail.com 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
2011/2/20 Stephen Tetley stephen.tet...@gmail.com:
On 18 February 2011 07:00, Evan Laforge qdun...@gmail.com 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
On Thu, 17 Feb 2011, Evan Laforge wrote:
However, I've basically given up on that for the moment in favor of
just generating MIDI. Just composition is already really complicated
without throwing signal processing into the mix. So I wish you best
of luck on the signal side, maybe when things
Hopefully that will help to better explain how I produced those mp3s. One of
the
things I hope to do in the near future is to clean up and better document
the
source code for a couple of them so that they can serve as tutorials.
I for one would be quite curious to see those. It's the first
Then I tried Modula-3 on Linux. When I later got to know Haskell, I found
that I had reinvented lazy evaluation for Assampler. Consequently I moved to
the original. I wanted to integrate music composition and signal processing.
I wanted programming features for music arrangement, since the
Hello everyone! Im new to this mailing list, so I thought I would do a short
introduction and also answer one of the questions that I saw about the
Euterpea-related compositions.
My name is Donya Quick and Im third year PhD student at Yale. My advisor is
Paul Hudak, who got me hooked on
On Fri, 4 Feb 2011, Stephen Sinclair wrote:
Anyways, due to the field I work in, one subject area I find myself
obsessed with is the seeming conflicts of interest between functional
programming and real-time guarantees (for writing DSP programs, etc).
The former allows more powerful ways to
On Sun, 13 Feb 2011, Hudak, Paul wrote:
First, my group has designed a new computer music library that I call
Euterpea (named after Euterpe, the Greek muse of music). Euterpea has all
of the original functionality of Haskore, plus an arrow-based signal
processing language for doing audio
Greetings!
I am Iavor Diatchki and I've been a Haskell programmer for a while now. I
love music and I play as a hobby but, somehow, I've never done much music
programming. Thanks to everyone who took the time to post a reply, it was
very interesting to find out about the various projects that
Hi everybody. Nice idea for people to introduce themselves on this list! It's
been great to hear about all the interesting work. Below is my story :-)
My name is Paul Hudak and I'm a Professor in the Department of Computer Science
at Yale. I was heavily involved in the design of Haskell
Stefan Kersten wrote:
i think that different (natural or computer) languages allow us to think
about interesting problems differently. although i've had some previous
exposure to functional programming (opal, anyone?),
I was taught some OPAL, but I guess, you already knew that.
Sönke
Hi!
I am Sönke Hahn. Some years ago, I became interested in audio programming.
During my studies my interest shifted towards language design and
functional languages. I joined this list, because I am interested in high-
level audio libraries in Haskell.
Right now, I am working on a game called
On Wed, 2 Feb 2011, alex wrote:
So, why not hit reply and introduce yourself (even if you've posted
already), and reveal your interest in haskell and/or art, whatever
that may be. I'll do it too, but someone else go first :)
Ok, where to start - at the very beginning? I first tried to make
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
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For 'Scale' i've come to this
There are two types 'Tone' and `Scale`
'Tone' is 2d integer + bend values as double. And Scale is base tone
frequency
(that corresponds to tone == (0, 0)), length of 'octave' interval and vector
of
multipliers for each tone in one cycle.
Interesting, I didn't
On Fri, Feb 4, 2011 at 2:14 AM, Evan Laforge qdun...@gmail.com wrote:
On Thu, Feb 3, 2011 at 5:27 PM, John Lato jwl...@gmail.com wrote:
On Thu, Feb 3, 2011 at 10:26 PM, Evan Laforge qdun...@gmail.com wrote:
I should have mentioned Pianoteq back there as an exception to no
interesting
On Wed, Feb 2, 2011 at 6:11 PM, alex a...@slab.org wrote:
So, why not hit reply and introduce yourself (even if you've posted
already), and reveal your interest in haskell and/or art, whatever
that may be. I'll do it too, but someone else go first :)
My name is Steve and I'm a doctoral
On Thu, Feb 3, 2011 at 8:11 AM, alex a...@slab.org wrote:
I'd really like to know why on earth people would subscribe to a
mailing list called 'haskell art'.
I am interested in the principles of composition that underly pieces of art
in general and Haskell programs in particular.
Symphonies
alex wrote:
Hi all,
This list has been around for a good few years now, and has 122
subscribers. There have been some interesting threads, mainly about
music libraries, but not a great deal of discussion.
I'm the main author of two commonly used FOSS audio related
libraries:
hi all,
On 03.02.11 00:11, alex wrote:
So, why not hit reply and introduce yourself (even if you've posted
already), and reveal your interest in haskell and/or art, whatever
that may be. I'll do it too, but someone else go first :)
i stumbled over haskell about three years ago, when i was
Hello,
I'm John Lato, a musician/technologist currently based outside of Dublin.
I'm the author of a few audio-related Haskell packages:
hCsound: http://hackage.haskell.org/package/hCsound
sndfile-enumerators: http://hackage.haskell.org/package/sndfile-enumerators
although I'm probably
On Wed, Feb 02, 2011 at 11:11:08PM +, alex wrote:
Hi all,
So, why not hit reply and introduce yourself (even if you've posted
already), and reveal your interest in haskell and/or art, whatever
that may be. I'll do it too, but someone else go first :)
Great idea Alex, thanks for
), and reveal your interest in haskell and/or art, whatever
that may be. I'll do it too, but someone else go first :)
Cheers,
alex
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Hi All,
I'm Duncan Mortimer, an Aussie currently living in London --- among
other things, I'm a hobbyist-coder-and-musician. While I've never
seriously looked into it, I've always been intrigued by the idea of
algorithmic composition, mathematical structures in music, and
fantasize occasionally
first :)
Cheers,
alex
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Good to see all the great response!
On 3 February 2011 19:33, Henning Thielemann
lemm...@henning-thielemann.de wrote:
Unfortunately archiving stopped in March 2010. Thus this thread will not be
archived, too. :-(
I seem to have fixed the archives:
On Thu, Feb 3, 2011 at 8:05 PM, Evan Laforge qdun...@gmail.com wrote:
I'm at last in a state where I can start using Haskell for real work,
although most of it isn't ready for release yet. Recently I've been
concentrating on physical modeling, an audio EDSL[0], and a csound-ish
front-end
On Thu, Feb 3, 2011 at 6:46 PM, Anton Kholomiov
anton.kholom...@gmail.comwrote:
sorry i've started new thread, it goes here
Hi
I'm making dsl's for music/sound composition. Hope some day i will stop
making dsls and do some music with them. But haskell makes it difficult.
With haskell It's
John Lato schrieb:
On Thu, Feb 3, 2011 at 6:46 PM, Anton Kholomiov
anton.kholom...@gmail.com mailto:anton.kholom...@gmail.com wrote:
sorry i've started new thread, it goes here
Hi
I'm making dsl's for music/sound composition. Hope some day i will
stop making dsls and do
http://hackage.haskell.org/package/csound-expression
and library for music composition. It will contain combinators for score
composition and microsound music support (it tries to be small, general and
not so western-music-tradition oriented). It makes no sound yet, but defines
how to
Balazs Komuves schrieb:
I sometimes make realtime, procedural music videos (it's an old hobby,
see http://en.wikipedia.org/wiki/Demoscene). In the last few years, I
have been doing this in Haskell, simply because I enjoy Haskell much more
than other
languages. However, these programs are
On Thu, Feb 3, 2011 at 10:26 PM, Evan Laforge qdun...@gmail.com wrote:
I should have mentioned Pianoteq back there as an exception to no
interesting physical models since the '90s thing. But it's pretty
specialized, and since it's proprietary who knows what they're doing
in there anyway.
I
On Thu, Feb 3, 2011 at 5:27 PM, John Lato jwl...@gmail.com wrote:
On Thu, Feb 3, 2011 at 10:26 PM, Evan Laforge qdun...@gmail.com wrote:
I should have mentioned Pianoteq back there as an exception to no
interesting physical models since the '90s thing. But it's pretty
specialized, and since
Hello,
I really can't comment on this list because I just signed up today - which
also makes this thread very useful for me.
I'm Raphael Santos, a brazilian music composition student who is also
interested in art in general - either more contemporary generative,
algorithmic, interactive,
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