Altogether, this eventually provides a simple, robust and elegant programming front-end, temporal tile programming, for reading, memorizing, stretching, combining and transforming flows of inputs into flows of outputs. They are shown to satisfy robust algebraic and category theoretic properties.

Various high level data types and program constructs can then be derived from such a model. Much like piano keys can be played and combined both in sequence and in parallel, we model system inputs and outputs as spatio temporal combinations of what we call temporal values: continuous functions over time whose domain lays between two events: a start and a stop event. In the field of reactive music system programming, we develop an orthogonal approach that seems to better fit our need. In this approach, discrete events are embedded into piece-wise continuous behaviors. In functional reactive programming (FRP), system inputs and outputs are generally modeled as functions over continuous time (behaviors) whose future values are governed by sudden changes (events). Beyond its application to music objects, our work shows how one can rely on a structured content embedded in a complex XML encoding to develop robust collection management tools with minimal implementation effort. We describe a system, based on an extension of XQuery with our algebra, that provides search, reorganization, and extraction functionalities on top of large collections of XML-encoded digital scores. We apply the model to collections of music scores. The data model leverages the hidden structure of digital music encodings to enable powerful manipulations of their content. We describe an algebra that relies on this structured music representation to extract, restructure, and search such objects. We propose to use the music notation language as a framework to model and manipulate the content of digital music objects, whatever their specific encoding may be. However, it appears much more clearly in the language of music notation. This structure is hardly explicitly accessible in many encodings, such as, for instance, audio files.

Music is a temporal organization of sounds, and we can therefore assume that any music representation has a structure that reflects some conceptual principles. With an explicitly out-of-time design approach, we eventually show that simpler and more abstract declarative programming features become available, leaving to computers the tedious task of synchronizing and scheduling the media events to be produced in-time, upon demand. In this paper, we propose a formal study of the interplay between these in-time and these out-of-time programing constructs. It follows that some of the out-of-time programming constructs used for the creation of that pieces must have been reordered in order to produce the right media events in the right order and at the right time. The production of notes in a musical performance is bound to be coherent with the unceasing onward flow of time.

On the contrary, rendering a temporal media is an in-time task. For example, when writing a musical piece, a composer can traverse back and forth his creation. Fairly general out-of-time program constructs are available for such a purpose. Self.last_figure = None self.The design a temporal media, a sequence of temporal media values such as notes, sounds, images, etc., is an out-of-time task. Self.barPos = self.startBarPos = self.inBeamGroup = self.lastNBeams = self.onePage = self.withStaff = 0 Self.barLength = 64 self.beatLength = 16 # in 64th notes Script_usage=$(cat '$ self.initOneScore()

Lilypond anacrusis