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<!-- <p>The conference proceedings are available in PDF format <a href="./proceedings/ICSC2017_proceedings.pdf">here</a>.</p>
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<h2>Abstracts</h2>
<div class="keynotes">
<!-- ======================= Session 1 ======================= -->
<h3 id="session_1">Session 1</h3>
<p id="Jiacomini" class="paper">Developing Cabbage Plugins For Composition and Sound Design and Sharing
Them Online </p>
<p class="author">Caio Jiacomini <span class="pdf"><a href="./proceedings/Developing Cabbage Plugins For Composition and Sound Design and Sharing Them Online.pdf"><img src="./img/iconpdf.svg" alt="pdf"></a></span></p>
<dl>
<dt>Abstract</dt>
<dd>
In 2020 I discovered Csound. Using the FLOSS Manual, I started teaching myself about this
amazing program.
With Cabbage, I realized I could make my own plugins and distribute them on the internet.
My goal was to create custom tools for my own composition and sound design work, and be able to
share both
my musical creations and the tools I designed to create them. The result of this work was
Vendaval,
Granulera, and Cristalera. This paper will present a detailed overview of these Cabbage plugins,
and share my experience and advice about distributing them through the itch.io storefront
</dd>
<dt>Keywords</dt>
<dd>
Csound, Cabbage, Plugins, Distribution, Granular
</dd>
<!-- <dt>Video of the presentation</dt>
<dd>
<a href="http://www.eumus.edu.uy/eme/icsc2017/1080/ICSC2017_Session_1a_Cherny-Chesnokov-Rogozinsky_1080.mp4">1080</a> –
<a href="http://www.eumus.edu.uy/eme/icsc2017/720/ICSC2017_Session_1a_Cherny-Chesnokov-Rogozinsky_720.mp4">720</a> –
<a href="http://www.eumus.edu.uy/eme/icsc2017/450/ICSC2017_Session_1a_Cherny-Chesnokov-Rogozinsky_450.mp4">450</a>
</dd> -->
</dl>
<p id="Vittoria" class="paper">Educational Tools for Csound</p>
<p class="author">Gianni Della Vittoria<span class="pdf"><a href="./proceedings/Educational Tools for Csound.pdf"><img src="./img/iconpdf.svg" alt="pdf"></a></span></p>
<dl>
<dt>Abstract</dt>
<dd>
This paper presents a work platform aimed at simplifying the musical
composition process with Csound for students and beginners.
The tools developed for this purpose aim to reduce the distraction that comes
from having to carry out intermediate tasks that could be automated. They concern
the edi- tor's text expansion, automatic GUI and plotting, fast syntax for operations
with arrays, python-style list comprehension, multichannel expansion for Csound opcodes.
Although initially designed for the beginner, these tools may also prove useful for
experienced users should they wish to evaluate these procedures with these tools.
</dd>
<dt>Keywords</dt>
<dd>
workflow, text expansion, compositional tools, fast syntax, GUI, multichannel expansion, arrays,
list comprehension
</dd>
<!-- <dt>Video of the presentation</dt>
<dd>
<a href="http://www.eumus.edu.uy/eme/icsc2017/1080/ICSC2017_Session_1b_Senna-Nava_1080.mp4">1080</a> –
<a href="http://www.eumus.edu.uy/eme/icsc2017/720/ICSC2017_Session_1b_Senna-Nava_720.mp4">720</a> –
<a href="http://www.eumus.edu.uy/eme/icsc2017/450/ICSC2017_Session_1b_Senna-Nava_450.mp4">450</a>
</dd> -->
</dl>
<p id="ffitch1" class="paper">New Arduino Opcodes to Simplify the Streaming of Sensor and Controller
Data to Csound </p>
<p class="author">John ffitch and Richard Boulanger<span class="pdf"><a href="./proceedings/New Arduino Opcodes to Simplify the Streaming of Sensor and Controller Data to Csound.pdf"><img src="./img/iconpdf.svg" alt="pdf"></a></span></p>
<dl>
<dt>Abstract</dt>
<dd>
An alternative communication mechanism between the Arduino and
Csound is proposed and described in detail, with simple examples.
Comments on this design and possible developments and enhancements are sought.
</dd>
<dt>Keywords</dt>
<dd>
Csound, Arduino, UNO-R3, sensors, controllers
</dd>
<!-- <dt>Video of the presentation</dt>
<dd>
<a href="http://www.eumus.edu.uy/eme/icsc2017/1080/ICSC2017_Session_1b_Senna-Nava_1080.mp4">1080</a> –
<a href="http://www.eumus.edu.uy/eme/icsc2017/720/ICSC2017_Session_1b_Senna-Nava_720.mp4">720</a> –
<a href="http://www.eumus.edu.uy/eme/icsc2017/450/ICSC2017_Session_1b_Senna-Nava_450.mp4">450</a>
</dd> -->
</dl>
<p id="ffitch2" class="paper">New Opcodes for MIDI CC Preset Banks and MIDI Note-on Toggles for Csound
in the Bela, Csound in the Nebulae, and Csound in General</p>
<p class="author">John ffitch and Richard Boulanger<span class="pdf"><a href="./proceedings/New Opcodes for MIDI CC Preset Banks and MIDI Note-on Toggles for Csound in the Bela, Csound in the Nebulae, and Csound in General.pdf"><img src="./img/iconpdf.svg" alt="pdf"></a></span></p>
<dl>
<dt>Abstract</dt>
<dd>
In Csound, designing a MIDI synth that could store and recall MIDI
Continuous Controller (CC) settings on the fly (MIDI presets),
or turn a specific MIDI note-on message into an on/off toggle that
would turn a Reverb, Flanger, or Distortion effect on or off are
quite basic design needs that, until now, have required some pretty
ingenious, advanced, and sometimes quite convoluted coding tricks
to do the job. Some solutions use widgets and functions in Cabbage,
CsoundQt, or Blue, but what if you not using Cabbage, CsoundQt or Blue,
or what if you are not working on an OS, or in an Application, or
on an embedded computing platform that supports them such as the
Bela, the Qu-bit Nebulae, or Chrome, Safari, Firefox? To address this
general need, a new family of counting opcodes cntCreate, cntCycles,
cntDelete, cntRead, cntReset, cntState, and a new family of MIDI
controller opcodes ctrlpreset, ctrlprint, ctrlsave, ctrlselect have
been added to Csound. In this paper, a discussion of their design,
and examples of their use in general Csound and in Csound running
on the Bela will be presented.
</dd>
<dt>Keywords</dt>
<dd>
Csound, MIDI, controller, preset, toggle
</dd>
<!-- <dt>Video of the presentation</dt>
<dd>
<a href="http://www.eumus.edu.uy/eme/icsc2017/1080/ICSC2017_Session_1b_Senna-Nava_1080.mp4">1080</a> –
<a href="http://www.eumus.edu.uy/eme/icsc2017/720/ICSC2017_Session_1b_Senna-Nava_720.mp4">720</a> –
<a href="http://www.eumus.edu.uy/eme/icsc2017/450/ICSC2017_Session_1b_Senna-Nava_450.mp4">450</a>
</dd> -->
</dl>
<p id="ffitch3" class="paper">Modeling a ’Classic’ Hardware Sequencer in Csound: The Design and Use of
the sequ Opcode</p>
<p class="author">John ffitch and Richard Boulanger<span class="pdf"><a href="./proceedings/Modeling a ‘Classic’ Hardware Sequencer in Csound -The Design and Use of the sequ Opcode.pdf" ><img src="./img/iconpdf.svg" alt="pdf"></a></span></p>
<dl>
<dt>Abstract</dt>
<dd>
Over the years, there have been many instruments,
designed and shared, that model the ’classic’ analog
step-sequencer. Some used the table opcodes, some did
it with Gens, some employed score macros, and score
commands, and others simply copy-pasted lines in the note- list.
More recently, impressive sequencer instruments are being
built with arrays, schedule, and event, and schedkwhen.
These designs have ranged from the simple to the sublime
and reveal many wonderful and inspiring approaches.
All are worthy of study and imitation. Still, beginners
always ask, ”How can you do sequencing in Csound?”
This question often leads into a deeper dive than they
are ready for. Or they ask, ”Does Csound have a sequencer
opcode?” Until recently, the answer to that question was
”no”, but now the answer is ”yes!”. This paper will introduce
the sequ opcode, discuss how it was designed, show how it works,
and showcase some of the novel features, and the more esoteric
possibilities, associated with it’s unique design.
</dd>
<dt>Keywords</dt>
<dd>
Csound, sequencer, sequ
</dd>
<!-- <dt>Video of the presentation</dt>
<dd>
<a href="http://www.eumus.edu.uy/eme/icsc2017/1080/ICSC2017_Session_1b_Senna-Nava_1080.mp4">1080</a> –
<a href="http://www.eumus.edu.uy/eme/icsc2017/720/ICSC2017_Session_1b_Senna-Nava_720.mp4">720</a> –
<a href="http://www.eumus.edu.uy/eme/icsc2017/450/ICSC2017_Session_1b_Senna-Nava_450.mp4">450</a>
</dd> -->
</dl>
<hr>
<!-- ======================= Session 2 ======================= -->
<h3 id="session_2">Session 2</h3>
<p id="Lazzarini" class="paper">A Just-in-Time Compiler for Csound Opcodes </p>
<p class="author">Victor Lazzarini<span class="pdf"><a href="./proceedings/A Just-in-Time Compiler for Csound Opcodes.pdf"><img src="./img/iconpdf.svg" alt="pdf"></a></span> </p>
<dl>
<dt>Abstract</dt>
<dd>
This paper inroduces a work-in-progress project targeting the
development of a user-defined opcode just-in-time compiler.
It describes the newly introduced module compiler which can take
C or C++ code, compile it and make it availble inside a running
instance of Csound. The principles of a C++ opcode object factory
and its applications are also discussed. The direction of travel
leading to the completion of a UDO compiler is outlined.
</dd>
<dt>Keywords</dt>
<dd>
Just-in-time compilers, extending Csound
</dd>
<!-- <dt>Video of the presentation</dt>
<dd>
<a href="http://www.eumus.edu.uy/eme/icsc2017/1080/ICSC2017_Session_2a_Sigurdsson_1080.mp4">1080</a> –
<a href="http://www.eumus.edu.uy/eme/icsc2017/720/ICSC2017_Session_2a_Sigurdsson_720.mp4">720</a> –
<a href="http://www.eumus.edu.uy/eme/icsc2017/450/ICSC2017_Session_2a_Sigurdsson_450.mp4">450</a>
</dd>
</dl> -->
<p id="ffitch4" class="paper">The Design and Use of Minimal7: Creating Subsets of Csound for
Embedded Applications </p>
<p class="author">John ffitch and Richard Boulanger<span class="pdf"><a href="./proceedings/The Design and Use of Minimal7 - Creating Subsets of Csound for Embedded Applications.pdf"><img src="./img/iconpdf.svg" alt="pdf"></a></span></p>
<dl>
<dt>Abstract</dt>
<dd>
There have been complaints of ”opcode bloat” with Csound,
especially when embedding an audio application into a small
devices. The Minimal7 system offers a solution by automating
the process of only including the opcodes and fgens that are
actually used in a customised Csound system. and not ”all” of
Csound. In the following paper, the mechanism for this process
is explained, and a simple example of the work-flow is presented.
This is followed by a description of the limitations of the
current version and suggestions of what could be done to a
generate even smaller customised versions of Csound.
</dd>
<dt>Keywords</dt>
<dd>
Csound, Embedding, Customised
</dd>
<!-- <dt>Video of the presentation</dt>
<dd>
<a href="http://www.eumus.edu.uy/eme/icsc2017/1080/ICSC2017_Session_2b_Jure-Yi_1080.mp4">1080</a> –
<a href="http://www.eumus.edu.uy/eme/icsc2017/720/ICSC2017_Session_2b_Jure-Yi_720.mp4">720</a> –
<a href="http://www.eumus.edu.uy/eme/icsc2017/450/ICSC2017_Session_2b_Jure-Yi_450.mp4">450</a>
</dd>
</dl> -->
<p id="Escobar" class="paper">Analysis, DSP and Composition </p>
<p class="author">Emiliano del Cerro Escobar</p>
<dl>
<dt>Abstract</dt>
<dd>
This paper presents the process of a musical composition (Resemblance) based on the
analysis of children's songs and the use of the results of this analysis to produce
a new work using Neural Nets, Artificial Inteligence, Grammars and Digital Signal
Processing.
The idea of the composition came from the theory enunciated by Noam Chomsky that
indicates
how children recognize timbre and contour of melodic songs before semantic meaning of
language,
as well as the consideration of music as natural language. The concept of music as
natural
language allows the use of concepts and algorithms derived from
Computer Science and Artificial Intelligence.
</dd>
<dt>Keywords</dt>
<dd>
Musical Analysis, Resynthesis, Audio DSP. Csound Composition
</dd>
<!-- <dt>Video of the presentation</dt>
<dd>
<a href="http://www.eumus.edu.uy/eme/icsc2017/1080/ICSC2017_Session_2b_Jure-Yi_1080.mp4">1080</a> –
<a href="http://www.eumus.edu.uy/eme/icsc2017/720/ICSC2017_Session_2b_Jure-Yi_720.mp4">720</a> –
<a href="http://www.eumus.edu.uy/eme/icsc2017/450/ICSC2017_Session_2b_Jure-Yi_450.mp4">450</a>
</dd>
</dl> -->
<hr>
<!-- ======================= Session 3 ======================= -->
<h3 id="session_3">Session 3</h3>
<p id="Gasperini" class="paper">Csound and Python: A State of the Art Survey </p>
<p class="author">Marco Gasperini and Giuseppe Ernandez</p>
<dl>
<dt>Abstract</dt>
<dd>
The aim of the authors is to present a brief survey on the state of the art and a
short
tutorial for musicians on the chances given by the interaction between Csound and
the Python
programming languages regarding the field of algorithmic composition. Some examples
using
historical models have been developed in particular an environ- ment for generating
John Cage's
Imaginary Lanscape n° 5 variants and another to simulate James Tenney'Four
Stochastic Studies grammar.
</dd>
<dt>Keywords</dt>
<dd>
Python, Algorithmic Score Generation, Electronic Music Teaching, John Cage, James
Tenney.
</dd>
<!-- <dt>Video of the presentation</dt>
<dd>
<a href="http://www.eumus.edu.uy/eme/icsc2017/1080/ICSC2017_Session_3a_Boenn_1080.mp4">1080</a> –
<a href="http://www.eumus.edu.uy/eme/icsc2017/720/ICSC2017_Session_3a_Boenn_720.mp4">720</a> –
<a href="http://www.eumus.edu.uy/eme/icsc2017/450/ICSC2017_Session_3a_Boenn_450.mp4">450</a>
</dd> -->
</dl>
<p id="Zhang" class="paper">Using a Waveguide to Model the Pipa in Csound</p>
<p class="author">Ningxin Zhang<span class="pdf"><a href="./proceedings/Using a Waveguide to Model the Pipa in Csound.pdf"><img src="./img/iconpdf.svg" alt="pdf"></a></span></p>
<dl>
<dt>Abstract</dt>
<dd>
Csound offers a huge set of tools for composers and sound designers.
The author is a sound designer, electroacoustic composer, and
classically-trained pipa player who was especially inspired by the
sound of a number of Csound’s waveguide opcodes, and many of the physically
modeled Csound instruments. Immediately, the author used them in an
attempt to imitate the sound of the pipa. However, the result was
quite different from the acoustic pipa tone and thus led to the research
presented in this paper. What is shown here is how, in order to simulate
a more convincing pipa, the author needed to follow physical modeling
practice, and hand code the filters mathematically.
</dd>
<dt>Keywords</dt>
<dd>
Csound, Pipa, Waveguide, Karplus-Strong
</dd>
<!-- <dt>Video of the presentation</dt>
<dd>
<a href="http://www.eumus.edu.uy/eme/icsc2017/1080/ICSC2017_Session_3a_Boenn_1080.mp4">1080</a> –
<a href="http://www.eumus.edu.uy/eme/icsc2017/720/ICSC2017_Session_3a_Boenn_720.mp4">720</a> –
<a href="http://www.eumus.edu.uy/eme/icsc2017/450/ICSC2017_Session_3a_Boenn_450.mp4">450</a>
</dd> -->
</dl>
<p id="Brandtsegg" class="paper">Rhythmic Synchronization of Events based on OSC Data from
an External Source </p>
<p class="author">Øyvind Brandtsegg<span class="pdf"><a href="./proceedings/Rhythmic Synchronization of Events based on OSC Data from an External Source.pdf"><img src="./img/iconpdf.svg" alt="pdf"></a></span></p>
<dl>
<dt>Abstract</dt>
<dd>
OSC messages is an efficient and versatile manner in which to communicate between
Csound and other software.
An inherent drawback of using network communications is the potential for timing
jitter.
An event displacement of just a few a few milliseconds will in many cases be
perceived as a problem for
music performance. To alleviate these potential problems, one can use different
methods for time
stamping each OSC message, and the receiving module can use this for rhythmically
precise synchronization
when playing the events. The current article explores a method for such rhythmical
synchronization within Csound.
</dd>
<dt>Keywords</dt>
<dd>
OSC, Python, Rhythm, Timing and Synchronization
</dd>
<!-- <dt>Video of the presentation</dt>
<dd>
<a href="http://www.eumus.edu.uy/eme/icsc2017/1080/ICSC2017_Session_3a_Boenn_1080.mp4">1080</a> –
<a href="http://www.eumus.edu.uy/eme/icsc2017/720/ICSC2017_Session_3a_Boenn_720.mp4">720</a> –
<a href="http://www.eumus.edu.uy/eme/icsc2017/450/ICSC2017_Session_3a_Boenn_450.mp4">450</a>
</dd> -->
</dl>
<!-- ======================= Session 4 ======================= -->
<hr>
<h3 id="session_4">Session 4</h3>
<p id="Larrea" class="paper">New Utility Classes and Sketches for Developers and Sound
Designers in CsoundUnity </p>
<p class="author">Mateo Larrea and Caio Jiacomini<span class="pdf"><a href="./proceedings/New Utility Classes and Sketches for Developers and Sound Designers in CsoundUnity.pdf"><img src="./img/iconpdf.svg" alt="pdf"></a></span></p>
<dl>
<dt>Abstract</dt>
<dd>
TheCsoundUnity wrapper brings the realtime synthesis and signal processing power of
Csound
to applications created with Unity. Despite the various benefits that it provides,
the lack
of an extended set of examples and/or tutorials presents a challenge for those who
are new
to the workflow. In the following paper, we present a series of C# utility classes
that will
facilitate the creation of new models and applications by showing what is possible.
These i
nclude scripts/classes that assist in the formatting of Channel and ScoreEvent data,
getting
Transform and RigidBody data, establishing trajectories for the spatialization of
Audio
Sources, processing spectrum data for audio reactivity, timing events based on
mathematical
sequences, processing real-time input from a microphone or AudioClip, and
incorporating
haptics into a list of potential interactions. Essentially, this collection aims to
exhibit
an accessible interface for those who are not Unity or Csound experts - abstracting
repetitive methods and providing a layout for the further development of ‘sketches’
and fully-implemented applications.
</dd>
<dt>Keywords</dt>
<dd>
CsoundUnity, C# Classes, Csound, Unity
</dd>
<!-- <dt>Video of the presentation</dt>
<dd>
<a href="http://www.eumus.edu.uy/eme/icsc2017/1080/ICSC2017_Session_4a_DiLiscia_1080.mp4">1080</a> –
<a href="http://www.eumus.edu.uy/eme/icsc2017/720/ICSC2017_Session_4a_DiLiscia_720.mp4">720</a> –
<a href="http://www.eumus.edu.uy/eme/icsc2017/450/ICSC2017_Session_4a_DiLiscia_450.mp4">450</a>
</dd>
</dl> -->
<p id="Sodre" class="paper">Designing VR Applications with CsoundUnity </p>
<p class="author">Pedro Sodre<span class="pdf"><a href="./proceedings/Designing VR Applications with CsoundUnity.pdf"><img src="./img/iconpdf.svg" alt="pdf"></a></span></p>
<dl>
<dt>Abstract</dt>
<dd>
This paper presents two interactive music systems built for the Oculus
Quest that use the CsoundUnity package. The first system explores different
ways to control Csound instruments and samples by interacting with 3D objects
using object collision and the grip buttons of the VR controller. The second
system transforms Boulanger’s classic “Trapped In Convert” into an interactive
system that allows users to play and spatialize adaptations of the original
Csound instruments used in the piece - to remix it and recompose it and play
along with it.
</dd>
<dt>Keywords</dt>
<dd>
Csound, Unity, CsoundUnity, VR
</dd>
<!-- <dt>Video of the presentation</dt>
<dd>
<a href="http://www.eumus.edu.uy/eme/icsc2017/1080/ICSC2017_Session_4a_DiLiscia_1080.mp4">1080</a> –
<a href="http://www.eumus.edu.uy/eme/icsc2017/720/ICSC2017_Session_4a_DiLiscia_720.mp4">720</a> –
<a href="http://www.eumus.edu.uy/eme/icsc2017/450/ICSC2017_Session_4a_DiLiscia_450.mp4">450</a>
</dd>
</dl> -->
<p id="Samsurya" class="paper">Realtime Audio Raytracing and Occlusion in Csound and
Unity </p>
<p class="author">Bilkent Samsurya<span class="pdf"><a href="./proceedings/Realtime Audio Raytracing and Occlusion in Csound and Unity.pdf"><img src="./img/iconpdf.svg" alt="pdf"></a></span></p>
<dl>
<dt>Abstract</dt>
<dd>
Extensive research has gone into the development of interactive virtual
environment
tools but its studies on audio technology are limited. There are many
acoustical
modeling tools which can be ap- plied to audio processing for virtual
environments
and the integration of Csound and Unity presents an opportunity to explore
this area
of research. This thesis describes an implementation of a realtime ray
tracing and
sound occlusion system to model acoustics in a virtual environment. The game
engine
Unity is chosen for the environment and Csound is the sound system chosen
for the
audio processing component. In the following paper, the mechanisms for which
the
process is outlined and the workflow is presented. A test to evaluate the
effectiveness
of the system is conducted. This is followed by a description of its
limitations and proposal for a revised model.
</dd>
<dt>Keywords</dt>
<dd>
Csound, Unity, Raytracing, Occlusion
</dd>
<!-- <dt>Video of the presentation</dt>
<dd>
<a href="http://www.eumus.edu.uy/eme/icsc2017/1080/ICSC2017_Session_4a_DiLiscia_1080.mp4">1080</a> –
<a href="http://www.eumus.edu.uy/eme/icsc2017/720/ICSC2017_Session_4a_DiLiscia_720.mp4">720</a> –
<a href="http://www.eumus.edu.uy/eme/icsc2017/450/ICSC2017_Session_4a_DiLiscia_450.mp4">450</a>
</dd>
</dl> -->
<!-- ======================= Session 5 ======================= -->
<hr>
<h3 id="session_5">Session 5</h3>
<p id="Janevska" class="paper">Implementing Andy Farnell’s ‘bouncing ball’ in
Csound </p>
<p class="author">Marijana Janevska, James Anderson and Joachim Heintz<span class="pdf"><a href="./proceedings/Implementing Andy Farnell’s ‘bouncing ball’ in Csound.pdf"><img src="./img/iconpdf.svg" alt="pdf"></a></span></p>
<dl>
<dt>Abstract</dt>
<dd>
This paper discusses the Csound implementation of the bouncing ball
model from Andy Farnell's Designing Sound [Farnell 2010]. We will
consider Farnell’s approach to sound design with Pure Data, then
present two possible procedures for extending this model to and
improving it in Csound. Finally, we will present creative examples
of varying and employing the model in a musical context.
</dd>
<dt>Keywords</dt>
<dd>
Csound, CsoundQt, Pure Data, Hannover, Incontri, FMSBW, Andy Farnell,
Designing Sound
</dd>
<!-- <dt>Video of the presentation</dt>
<dd>
<a href="http://www.eumus.edu.uy/eme/icsc2017/1080/ICSC2017_Session_4a_DiLiscia_1080.mp4">1080</a> –
<a href="http://www.eumus.edu.uy/eme/icsc2017/720/ICSC2017_Session_4a_DiLiscia_720.mp4">720</a> –
<a href="http://www.eumus.edu.uy/eme/icsc2017/450/ICSC2017_Session_4a_DiLiscia_450.mp4">450</a>
</dd>
</dl> -->
<p id="Phillipe" class="paper">HYPERCURVE - A hybrid curve forge in Csound
</p>
<p class="author">Johann Phillipe and Jacopo Greco d’Alceo<span class="pdf"><a href="./proceedings/HYPERCURVE - An hybrid curve forge in Csound.pdf"><img src="./img/iconpdf.svg" alt="pdf"></a></span></p>
<dl>
<dt>Abstract</dt>
<dd>
HYPERCURVE is a new library designed to combine different
curve algorithms inside one function table. It has been
thought as a tool for musicians looking to shape precisely
their envelopes and function tables. The library is exposed
to several environments, like Csound, Faust, Lua and C++.
</dd>
<dt>Keywords</dt>
<dd>
Curve,Perception,Csound,Shape,Envelop,Waveform,Control
</dd>
<!-- <dt>Video of the presentation</dt>
<dd>
<a href="http://www.eumus.edu.uy/eme/icsc2017/1080/ICSC2017_Session_4a_DiLiscia_1080.mp4">1080</a> –
<a href="http://www.eumus.edu.uy/eme/icsc2017/720/ICSC2017_Session_4a_DiLiscia_720.mp4">720</a> –
<a href="http://www.eumus.edu.uy/eme/icsc2017/450/ICSC2017_Session_4a_DiLiscia_450.mp4">450</a>
</dd>
</dl> -->
<p id="Yang" class="paper">The road to electronic music education and
composition in China based on Csound </p>
<p class="author">Wanjun Yang and Jinhao Han<span class="pdf"><a href="./proceedings/The road to electronic music education and composition in China based on Csound.pdf"><img src="./img/iconpdf.svg" alt="pdf"></a></span></p>
<dl>
<dt>Abstract</dt>
<dd>
Using music programming for electronic music composition has
been an important way of
electronic music research and composition for more than half a
century, but how to
educate and promote it is a great problem for researchers. This
paper will discuss
the experiences and achievements of Chinese electronic musicians
in electronic music
education and composition with Csound. With the Sichuan
Conservatory of Music as
the object of analysis, we will explore how to combine new
technologies with the
essence of Chinese culture in electronic music composition and
composer training,
find new forms and explore the impact of the intermingling and
collision of different
cultures on the promotion of music art and technology.
</dd>
<dt>Keywords</dt>
<dd>
Csound, Chinese culture, teaching, composition, The Night of
Coding
</dd>
<!-- <dt>Video of the presentation</dt>
<dd>
<a href="http://www.eumus.edu.uy/eme/icsc2017/1080/ICSC2017_Session_4a_DiLiscia_1080.mp4">1080</a> –
<a href="http://www.eumus.edu.uy/eme/icsc2017/720/ICSC2017_Session_4a_DiLiscia_720.mp4">720</a> –
<a href="http://www.eumus.edu.uy/eme/icsc2017/450/ICSC2017_Session_4a_DiLiscia_450.mp4">450</a>
</dd>
</dl> -->
<!-- ======================= Session 6 ======================= -->
<hr>
<h3 id="session_6">Session 6</h3>
<p id="Boulanger" class="paper">Scanned Synthesis Then & Now – The
Design and Enhancement of Csound’s Scanned Opcodes </p>
<p class="author">Richard Boulanger and John ffitch<span class="pdf"><a href="./proceedings/Scanned Synthesis Then & Now – The Design and Enhancement of Csound’s Scanned Opcodes.pdf"><img src="./img/iconpdf.svg" alt="pdf"></a></span></p>
<dl>
<dt>Abstract</dt>
<dd>
Scanned Synthesis was introduced at the 2000 ICMC in Berlin.
The underlying algorithm was developed
by Max Mathews, ex- panded upon and coded into Csound by
Paris Smaragdis, and, over the years, enhanced
and expanded further by John ffitch. Recently, when working
to clarify the wording and improve the
examples in the Csound Manual, a number of questions arose
such as: ”what are the differences between
all the scanned opcodes?”; ”how do they interact with each
other?”, and ”how do the scanned opcodes
actually work under the hood?” While answering these
questions, and coding new examples,
the authors realized that there was room for further
improvement, and that some powerful
optional arguments could be added to support further sonic
exploration. In fact, where
the scanned opcodes started, and where they are today is
quite an inspiring story.
This paper will tell the story of the birth of scanu and
scans in the mind of Max Mathews,
and their current scanu2, scantable and scanmap capabilities
today.
</dd>
<dt>Keywords</dt>
<dd>
Csound, scanned, scanu, scanu2, scans, scanmap, gen44
</dd>
<!-- <dt>Video of the presentation</dt>
<dd>
<a href="http://www.eumus.edu.uy/eme/icsc2017/1080/ICSC2017_Session_4a_DiLiscia_1080.mp4">1080</a> –
<a href="http://www.eumus.edu.uy/eme/icsc2017/720/ICSC2017_Session_4a_DiLiscia_720.mp4">720</a> –
<a href="http://www.eumus.edu.uy/eme/icsc2017/450/ICSC2017_Session_4a_DiLiscia_450.mp4">450</a>
</dd>
</dl> -->
<p id="Walter" class="paper">Creating Modulation Matrices for
Modern Synthesizers and Effects in Csound and Cabbage </p>
<p class="author">Jonathon Walter<span class="pdf"><a href="./proceedings/Creating Modulation Matrices for Modern Synthesizers and Effects in Csound and Cabbage.pdf"><img src="./img/iconpdf.svg" alt="pdf"></a></span></p>
<dl>
<dt>Abstract</dt>
<dd>
When designing synthesizers and effects often the most
important and characteristic component
is its modulation capabilities. When looking at
commercial hardware such as pedals by Chase
Bliss, essentially every parameter can be modulated
internally, as well as controlled via MIDI and CV.
Alternatively, hardware such as Sequential’s Prophet 6
offers limited customizable modulation, which
helps establish the synthesizer’s signature sound.
Internal modulation presents an interesting problem
as one doesn’t want to limit the modulation capabilities
of the user, while also not sacrificing CPU.
One solution is to build all-encompassing internal
routing matrices into your plugins.
The following paper will explain how to create a routing
matrix for synthesizers and effects
inspired by the one in Ableton’s wavetable synthesizer.
</dd>
<dt>Keywords</dt>
<dd>
Csound, Cabbage, ntrpol, Modulation, Matrix, Plugins
</dd>
<!-- <dt>Video of the presentation</dt>
<dd>
<a href="http://www.eumus.edu.uy/eme/icsc2017/1080/ICSC2017_Session_4a_DiLiscia_1080.mp4">1080</a> –
<a href="http://www.eumus.edu.uy/eme/icsc2017/720/ICSC2017_Session_4a_DiLiscia_720.mp4">720</a> –
<a href="http://www.eumus.edu.uy/eme/icsc2017/450/ICSC2017_Session_4a_DiLiscia_450.mp4">450</a>
</dd>
</dl> -->
</div>
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