Jean Bresson

Interindividual variations in the disomy frequencies of human spermatozoa and their correlation with nuclear maturity as evaluated by aniline blue staining

OBJECTIVE To evaluate the importance of interindividual variations in the disomy frequencies of human sperm and their possible correlation with the principal semen parameters. DESIGN Prospective randomized analysis of sperm nuclei by fluorescence in situ hybridization and analysis of semen parameters. SETTING University-based laboratory for reproductive biology. PATIENT(S) Fifty-seven human ejaculates selected at random from a population of men undergoing semen analysis. INTERVENTION(S) Semen specimens were analyzed, and sperm samples were prepared for fluorescence in situ hybridization. MAIN OUTCOME MEASURE(S) Semen parameters, including necrozoospermia, global motility, sperm concentration, multiple abnormalities index, and teratozoospermia were evaluated, aniline blue staining was completed, and disomy frequencies for chromosomes 8, 15, 18, X, and Y were determined using fluorescence in situ hybridization. RESULT(S) Noticeable differences in disomy frequencies between individuals were observed, and these frequencies were correlated with the degree of nuclear maturity. CONCLUSION(S) We hypothesize that the positive correlation can be explained by an abnormality of chromosomal segregation at the time of meiosis that would cause disturbances during the transition of nucleoprotein or by one or several premeiotic abnormalities of chromatin that would perturb both the meiotic process and the construction of definitive proteins.

OpenMusic: visual programming environment for music composition, analysis and research

OpenMusic is an open source environment dedicated to music composition. The core of this environment is a full-featured visual programming language based on Common Lisp and CLOS (Common Lisp Object System) allowing to design processes for the generation or manipulation of musical material. This language can also be used for general purpose visual programming and other (possibly extra-musical) applications.

Interacting with symbol, sound, and feature spaces in orchidée, a computer-aided orchestration environment

HAL is a multi-disciplinary open access archive for the deposit and dissemination of scientific research documents, whether they are published or not. The documents may come from teaching and research institutions in France or abroad, or from public or private research centers. L’archive ouverte pluridisciplinaire HAL, est destinée au dépôt et à la diffusion de documents scientifiques de niveau recherche, publiés ou non, émanant des établissements d’enseignement et de recherche français ou étrangers, des laboratoires publics ou privés. Interacting with Symbol, Sound and Feature Spaces in Orchidée, a Computer-Aided Orchestration Environment Grégoire Carpentier, Jean Bresson

Visual Lisp/CLOS programming in OpenMusic

OpenMusic (OM) is a visual programming language developed on top of Common Lisp and CLOS, in which most of the functional and object-oriented programming concepts can be implemented and carried out graphically. Although this visual language was designed for musical applications, the focus in this paper is to describe and study OM as a complete general-purpose programming environment.

Spatial sound synthesis in computer-aided composition*

In this article we describe our ongoing research and development efforts towards integrating the control of sound spatialisation in computer-aided composition. Most commonly, the process of sound spatialisation is separated from the world of symbolic computation. We propose a model in which spatial sound rendering is regarded as a subset of sound synthesis, and spatial parameters are treated as abstract musical materials within a global compositional framework. The library OMPrisma is presented, which implements a generic system for the control of spatial sound synthesis in the computer-aided composition environment OpenMusic.

Musical Representation of Sound in Computer-Aided Composition: A Visual Programming Framework

Abstract This article addresses the problem of the representation and creation of sound by synthesis in the context of music composition, as seen from the computer-aided composition perspective. An important theoretical basis of this work is the concept of computer modelling, discussed in relation to the notions of sound representation and music composition. Modelling sound as a signal is extended to the musical domain by considering as an alternative modelling composition as an activity that aims to produce sounds. The visual programming paradigm is adopted for the representation and conception of the composition models, and therefore for the musical representation of sounds. A composition framework dedicated to electro-acoustic music and sound synthesis integrated in the OpenMusic computer-aided composition environment is presented. Temporal issues are also discussed and are the object of specific developments.

Scores, programs, and time representation: The sheet object in openmusic

Current computer-music systems deal with complex processes related to heterogeneous musical contents and information. In particular, the objects involved in music composition correspond to various temporal paradigms and representations. For instance, contemporary music composers frequently deal with time durations, or even directly with the continuous aspects of sound structures, instead of (or in relation to) a traditional pulsed-time representation. In these cases, however, continuous musical material must generally be associated with discrete and symbolic structures to allow for their meaningful representation (Boulez 1987). The score is a general framework for music writing in which this integration of musical material and the related issues of time representations should be carefully considered. Regardless of whether it concerns instrumental or electro-acoustic music, this document is of major importance as a formal support and a preferred place for musicians to write, read, and think about music. In this article, we focus on this notion of the score in computer-aided composition (CAC) through a presentation of related work in the visual programming environment OpenMusic (Agon 1998; Assayag et al. 1999). We introduce a new object recently created in OpenMusic: the sheet. This new object gathers results of CAC experiments and research concerning the relations between programs and score representations, the integration of sound and signal processing in compositional processes, the mixing of heterogeneous temporal systems, and the general visual representation of time structures in music notation. The sheet editor allows for accurate rhythmic notation while integrating specific features such as the support for new types of musical objects and programming tools. After a brief discussion of the question of the score in computer music composition, we present previous attempts at combining programs and scores

Omchroma: Compositional control of sound synthesis

Control of Sound Synthesis Carlos Agon,∗ Jean Bresson,∗ and Marco Stroppa† ∗Sciences et technologies de la musique et du son (STMS) Lab: Institut de Recherche et Coordination Acoustique/ Musique (IRCAM)/ centre national de la recherche scientifique (CNRS)/ Universite Pierre et Marie Curie–Paris 6 (UPMC) 1, Place I. Stravinsky 75004 Paris, France {carlos.agon, jean.bresson}@ircam.fr †University of Music and the Performing Arts Urbanstr. 25, 70182 Stuttgart, Germany stroppa@mh-stuttgart.de

Reactive visual programs for computer-aided music composition

We present a new framework for reactive programming in OpenMusic, a visual programming language dedicated to computer-aided music composition. We highlight some characteristics of the programming and computation paradigms, and describe the implementation of a hybrid system merging demand-driven and event-driven evaluation models in this environment.

Towards interactive authoring tools for composing spatialization

We present interactive tools designed to help music composers controlling sound spatialization processes in a computer-aided composition environment. We conducted interviews with composers to understand their needs and inform the design of new compositional interfaces. These interfaces support quick input, visualization and edition of three-dimensional trajectories, as well as the control of the temporal dimension in spatial scene descriptions.