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Musical-Applications-of-Microprocessors-2ed-Chamberlin-H-1987

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640 MUSICAL ApPLICATIONS OF MICROPROCESSORS<br />

SCORE<br />

OURATION<br />

LEVEL 5<br />

SCORE<br />

SECTIONS<br />

LEVEL 4<br />

NOTE<br />

TEMPO<br />

LEVEL 3<br />

ENVE LOPE ,-- -L- ----,<br />

SAMPLE<br />

RATE<br />

LEVEL 2<br />

SOUND<br />

SAMPLE<br />

RATE<br />

LEVEL I<br />

SOUND<br />

SAMPLE<br />

RATE<br />

LEVEL 0<br />

Fig. 18-1. Music s<strong>of</strong>tware system hierarchy<br />

and, in most respects, more difficult than real-time performance usmg<br />

external synthesis hardware.<br />

Organization <strong>of</strong> Music S<strong>of</strong>tware Systems<br />

Like most nontrivial s<strong>of</strong>tware systems, a music synthesis s<strong>of</strong>tware system<br />

is organized into a hierarchy <strong>of</strong> programs and functions. Figure 18-1<br />

illustrates that at least five distinct levels can be identified ranging from the<br />

lowest level sample-by-sample computations to the highest level operating<br />

system functions. The levels are distinguished by the time scale at which<br />

they operate. The lower levels operate in the micro- and millisecond terms <strong>of</strong><br />

individual waveform and envelope samples, while the higher levels operate<br />

on the scale <strong>of</strong> seconds associated with notes and phrases in the musical<br />

performance. Information flow is generally from the higher levels to the<br />

lower levels, although in some cases signaling in the opposite direction may<br />

be done.

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