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Manuel is a passionate, driven, and techsavvy AV technician, artist and music composer with over ten years of experience, specializing in the captivating world of music and entertainment.

Manuel is an expert in creating soundtracks for short films, feature films and video games.

Manuel Music Blog is a diverse digital platform where creativity and intellect converge, covering a wide range of topics from 3D Art to Music, and Technology to Philosophy.

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With dedicated sections for different arts, instruments, and cultural reflections, this blog serves as a rich resource for those seeking inspiration, knowledge, and a deep dive into the myriad aspects of artistic and technological exploration.

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If music information processing is crucial to us today, it’s because it has gradually developed tools that are transforming the way we think about music. Its history is brief, merging with the development of digital technologies, such as computers, programming languages, and other digital inventions. From its inception, information processing has been mature enough to support various activities, from accounting to scientific analysis, as well as creative endeavors, including music.

It’s essential to differentiate between information processing itself and the broader realm of digital development. Music draws from both fields, but as sound becomes increasingly digital, the distinction is vital. Music information processing emerged from the intersection of musical interests and the environment created by digital technologies, as well as the unique characteristics of computers and the scientific fields that inform their analytical subjects. While musical composition is a primary focus, almost all aspects of music are represented, and musical analysis overlaps with information processing, acoustics, signal processing, and cognitive psychology Artists Psychology - Here's an interesting exclusive article Roland d’Humières, 56 years old psycho-analyst from Aix en Provence (France) has written for our Weblog. I think it to be a very interesting writing about the artists psychology, or maybe "arts psychology", what's behind an artists mind. Artists Psychology Whatever is his/her Art, painting, music, dance, writing, or any… .

The use of information processing’s specific contributions characterizes its approach, with artificial intelligence providing continuous new conceptual tools, embodied in languages such as Lisp or Prolog. These are often used by musicologists or as tools for composition. Research into real-time systems and interactive interfaces enables the conception of novel connections between instrumentalists and the electronic world.

Early music information processing activities focused on two independent areas: musical composition and sound creation, both executed by computers. The first significant experiments in computer-aided musical composition date back to 1956, with Lejaren Hiller’s Illiac Suite for String Quartet. Meanwhile, in 1956, John McCarthy coined the term “artificial intelligence,” and a year later, Max Mathews developed the first digital sound synthesis program for the IBM 704 computer.

Over time, music information processing has evolved, focusing on composition, sound production, and analysis. The appearance of the microprocessor in the 1970s marked a turning point, allowing for more accessible and interactive interfaces. Today, music information processing is at the center of various musical, scientific, and technical fields, shaping the way we create, analyze, and experience music.

The principle of crossbreed synthesis was prevalent throughout the 1970s before being replaced by digital synthesizers in the early 1980s. In 1971, Intel introduced the first microprocessor, the 4004, which led to the development of early microcomputers like Intellec 8, Apple I, and Altair. These devices were used in experimental musical works by groups such as the Art Group and Data Processing of Vincennes (GAIV), which utilized Intellec 8 and EMS-VCS3 synthesizers controlled by digital-to-analog converters.

The arrival of microcomputers also led to the development of “mixed synthesis” – digital synthesizers that were essentially computers designed to calculate sound waves in real-time, controlled by a computer. Notable examples from the late 1970s include work by James Beauchamp, Jean-François Allouis, William Buxton, Peter Samson, and the Synclavier by New England Digital Corporation. By 1980, with Ircam’s 4X, the term synthesizer was replaced by “digital signal processor,” emphasizing the machine’s general computing capabilities.

The electronic instrument industry adapted quickly to these new technologies. First, microprocessors were introduced into analog synthesizers, like the Prophet synthesizers by Sequential Circuits. Next, fully digital musical instruments were designed, such as Synclavier II and Fairlight.

Today, the market is dominated by digital synthesizers and sound processors, which adhere to the MIDI standard. They come in two types: those with preprogrammed sounds that can be adjusted through simple programming, and samplers that reproduce pre-recorded and stored sounds. These technologies are now accessible to individual musicians through home studios.

To utilize these machines, musicians need appropriate software like sequencers, sound editors, and composition programs. The most representative product in the modern music industry What Is A Musician? - For some individuals, the role of a musician may be difficult to comprehend. They may struggle to understand: 1 - the nature of a musician's talent or job, 2 - why musicians work around the clock, and 3 - the concept of a fanbase and the boundaries musicians set with fans. Let's delve into each… is the “workstation,” which combines various software programs for sound analysis, synthesis, and composition within a computer-based environment. Plug-in cards and software allow users to read and manipulate sound files from various sources, such as MIDI inputs. This type of setup is commonly referred to as “hard” or “direct-to-disk” recording.

The discussion on musical representation in the field of computer-generated music can be broken down into two main parts: Xenakis’ composition method and the MIDI standard.

  1. Xenakis’ composition method: Iannis Xenakis introduced a unique approach to music composition using the UPIC (Unit Polyagogique Informatique of CEMAMu) system. The UPIC allows composers to draw on a large table of “arcs time-height” to represent music in a graphical form. This system was initially created for a minicomputer and later adapted for microcomputers. The Phonograms system, developed at Paris 8 University, also represents sound in a modifiable image format.
  2. MIDI standard: Developed in 1983, the MIDI (Musical Instrument Digital Interface) standard was designed to control multiple synthesizers from a single keyboard. MIDI messages are sent in digital format according to a specific protocol, primarily based on the musician’s instrumental gesture. The MIDI standard has been widely adopted and is now used to interconnect various electronic music Trance Music - Free Flowing Electronica - Have you ever found yourself dancing in a club, utterly absorbed in the melody, feeling as if the trance music is flowing through you and guiding your body's movements? This is an experience I've had numerous times during carefree nights at local techno clubs I've often wondered which type of techno generates this unforgettable sensation… studio devices and even stage lighting systems.

Musical research has evolved significantly since the inception of computer-aided composition. Early pioneers like Lejaren Hiller, Pierre Barbaud, and Iannis Xenakis relied heavily on mathematics and stochastic processes for their compositions. Later on, with the advent of microcomputers, new trends in computer-assisted composition emerged, focusing on formal languages and generative grammars rather than mathematics.

In the 1980s, the use of computers in live performances gained traction, with the development of digital synthesizers, real-time processing capabilities, and control languages. This led to the exploration of integrating computers into orchestras and developing sensors for traditional instruments, enabling interaction between computers and musicians.

The computer music community has also organized itself through conferences, publications, and associations like the International Computer Music Association (ICMA). Various journals and magazines, such as Computer Music Journal, Interface, Musicworks, and Leonardo Music Journal, have provided platforms for the dissemination of research and discussions on musical computing. Additionally, electronic magazines and information banks available through the internet have increased the speed of communication and access to information in the field of musical computing.

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