This paper presents Skini, a programming methodology and an execution environment for interactive structured music. With this system, the composer programs his scores in the HipHop.js synchronous reactive language. They are then executed, or played, in live concerts, in interaction with the audience. The system aims at helping composers to find a good balance between the determinism of the compositions and the nondeterminism of the interactions with the public. Each execution of a Skini score yields to a different but aesthetically consistent interpretation. This work raises many questions in the musical fields. How to combine composition and interaction? How to control the musical style when the audience influences what is to play next? What are the possible connections with generative music? These are important questions for the Skini system but they are out of the scope of this paper that focuses exclusively on the computer science aspects of the system. From that perspective, the main questions are how to program the scores and in which language? General purpose languages are inappropriate because their elementary constructs (i.e., variables, functions, loops, etc.) do not match the constructions needed to express music and musical constraints. We show that synchronous programming languages are a much better fit because they rely on temporal constructs that can be directly used to represent musical scores and because their malleability enables composers to experiment easily with artistic variations of their initial scores. The paper mostly focuses on scores programming. It exposes the process a composer should follow from his very first musical intuitions up to the generation of a musical artifact. The paper presents some excerpts of the programming of a classical music composition that it then precisely relates to an actual recording. Examples of techno music and jazz are also presented, with audio artifact, to demonstrate the versatility of the system. Finally, brief presentations of past live concerts are presented as an evidence of viability of the system.

中文翻译：

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互动音乐和同步反应式编程

本文介绍了 Skini，一种用于交互式结构化音乐的编程方法和执行环境。有了这个系统，作曲家用 HipHop.js 同步响应式语言编写他的乐谱。然后在现场音乐会中与观众互动，执行或播放它们。该系统旨在帮助作曲家在作品的确定性和与公众互动的不确定性之间找到良好的平衡。Skini 乐谱的每次执行都会产生不同但在美学上一致的解释。这项工作在音乐领域提出了许多问题。如何结合组合和交互？当观众影响接下来的演奏时，如何控制音乐风格？与生成音乐有哪些可能的联系？这些是 Skini 系统的重要问题，但它们超出了本文的范围，本文只关注系统的计算机科学方面。从这个角度来看，主要问题是如何编写分数以及使用哪种语言？通用语言是不合适的，因为它们的基本结构（即变量、函数、循环等）与表达音乐和音乐约束所需的结构不匹配。我们表明同步编程语言更适合，因为它们依赖于可直接用于表示乐谱的时间结构，并且因为它们的延展性使作曲家能够轻松地试验其初始乐谱的艺术变化。该论文主要侧重于乐谱编程。它揭示了作曲家从最初的音乐直觉到音乐制品的产生应该遵循的过程。该论文提供了一些古典音乐作品编程的摘录，然后将其与实际录音精确地相关联。还提供了电子音乐和爵士乐的示例，以及音频工件，以展示系统的多功能性。最后，简要介绍过去的现场音乐会，作为系统可行性的证据。该论文提供了一些古典音乐作品编程的摘录，然后将其与实际录音精确地相关联。还提供了电子音乐和爵士乐的示例，以及音频工件，以展示系统的多功能性。最后，简要介绍过去的现场音乐会作为系统可行性的证据。该论文提供了一些古典音乐作品的编程摘录，然后将其与实际录音精确地相关联。还提供了电子音乐和爵士乐的示例，以及音频工件，以展示系统的多功能性。最后，简要介绍过去的现场音乐会，作为系统可行性的证据。