Sousa Dias, A. Two examples of free transposition of audio processing techniques to the note domain in “Dói-me o luar” and Ressonâncias – Memórias. C. Agon, G. Assayag, J. Bresson (org.), The OM Composer´s Book. 2, Paris, IRCAM / Delatour, 2008.
ISBN: 2-84426-399-2.

In my compositions, I was led to develop musical strategies, where working with memory tracing and dealing with problems of correlation of heterogeneous materials based in musical notes, processes and sounds are keystones. In this chapter I describe two of these techniques developed at the note level that I implemented in OpenMusic. They are based in a mixture of audio processing and auto similarity flavour as the musical process involved requires that two “musical signals” (with some parameters) combine to form another “musical signal”. The first technique generates a set of melodic figures resulting from the analysis of two motifs and the second generates a “musical palimpsest”. After a description of my compositional framework where OpenMusic is a key element, I will focus on two particular works where these techniques were used, Dói-me o luar (2001) and Ressonâncias - Memórias (2003).

OM Patches on GitHub:

Eimert, Herbert (1963). Elektronische Musik. Wergo Schallplattenverlag. (Música Electrónica, 1992, rev. 1996. Trad. Ansgar Schaefer; rev. António de Sousa Dias).

Text online: 1 Academia, 2 ResearchGate.

Exs (sel.) Csound on GitHub.

Schaeffer, P.; Reibel, G.; Ferreyra, B. (1998 [1967]), Solfège de l'objet sonore, (Solfejo do Objecto Sonoro trad. A. Sousa Dias, rev. 2007). ElectroAcoustic Resource Site (Ears).

For an introduction in french on the methodology used see