Scaletti, C., The Kyma/Platypus Computer Music Workstation, in The Well-Tempered Object: Musical Applications of Object-oriented programming, S. Pope, Editor. 1991, M. I. T. Press: Boston. Home/Search Document Not in Database Summary Related Articles Check |
This paper is cited in the following contexts:
A Conversation-Based Framework For Musical Improvisation - Walker (1994) (3 citations) (Correct)
....and stop times. Kyma is a sound specification language that does not distinguish between signal level and event level processing or between the concepts of orchestra and score; these models are supplanted by arbitrary hierarchical structures constructed by the composer out of uniform Sound objects[48, 49]. Kyma Sounds are synthesized in real time by the Capybara, a digital signal multiprocessor. A Macintosh driver for controlling the Capybara enables any application to play a Kyma Sound and to control its parameters in real time. The goal of the Timbre hierarchy is to present a common protocol ....
Scaletti, C., The Kyma/Platypus Computer Music Workstation, in The Well-Tempered Object: Musical Applications of Object-oriented programming, S. Pope, Editor. 1991, M. I. T. Press: Boston.
Realtime Software Synthesis for Psychoacoustic Experiments - Jr., Moore, Fujinaga (Correct)
....instruction sets that Cmix uses to drive its sound synthesis. It has an open architecture, which has fostered the design of RTcmix, which adds realtime synthesis functionality to Cmix. Kyma is a software synthesis language that uses sound objects, or streams of samples, as its building blocks (Scaletti 1989). Roger Dannenberg helped create a series of tools that began in 1984 with Arctic, but required special hardware, and progressed through Canon, Fugue, and now Nyquist, which runs on UNIX, Windows NT, Windows 95, and the Mac OS (Dannenberg 1997a) Cecilia 2.0 is a productivity minded environment ....
Scaletti, C. 1989. The Kyma/Platypus computer music workstation. Computer Music Journal 13 (2): 23--38.
An Algorithmic Approach to Composition based on Dynamic.. - Punch, Sullivan, al. (Correct)
....process as well as creating software that can imitate that process. Such work would include (but is not limited to) Smoliar s work on modeling of music information [22] Vicinanza s work on composition using the SOAR model [23] and the compositional systems of Xenakis [16] Brun [2] Scaletti [21], Koenig [13, 12] and others. We feel that each of the above approaches concentrates on a particular aspect of the compositional process and addresses what algorithmic approach meets these particular needs. The thrust of these approaches corresponds with one approach to Knowledge Based Systems ....
C. Scaletti. The Kyma/Platypus computer music workstation. Computer Music Journal, 13(2):23--28, 1989.
A Flexible Real-Time Software Synthesis System - Dannenberg, Brandt (1996) (Correct)
....better support for control, support control as well as signal processing. Our timing, and dynamic reconfiguration. Other relevant experience with MIDI control systems [Dannenberg systems include Cmix [Lansky 87] a non real time 93] indicates that control can take substantial system) and Kyma [Scaletti 89] which uses DSP amounts of computation, and this has important chips for synthesis) While each of the systems implications for the architecture. Software synthesis mentioned offers some approach to our problems, systems have traditionally used synchronous control none offers a very complete ....
Scaletti, C. The Kyma/Platypus Computer Music Workstation. Computer Music Journal 13(2):23-38, Summer, 1989.
A Brief Survey of Music Representation Issues, Techniques, and.. - Dannenberg (Correct)
....In contrast, computer programs are often used to encode dynamic behavior or as an alternate representation of static data. For the most part, visual graphical editors, such as sequencers and notation editors, manipulate static data. Exceptions include Max [Puckette 91] Kyma [Scaletti 91, Scaletti 89] and numerous patch editors, which describe dynamic behavior. While visual programming is still in its infancy, textual programming languages have a rich history, and the importance of time in music has led to a number of language innovations. A full treatment of languages for computer music ....
Scaletti, C. The Kyma/Platypus Computer Music Workstation. Computer Music Journal 13(2):23-38, Summer, 1989.
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