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paper/iclc/citations.json

@@ -0,0 +1,597 @@
+[
+	{
+		"id": "toussaintEuclideanAlgorithmGenerates2005",
+		"type": "paper-conference",
+		"abstract": "The Euclidean algorithm (which comes down to us from Euclid's Elements) computes the greatest common divisor of two given integers. It is shown here that the structure of the Euclidean algorithm may be used to automatically generate, very efficiently, a large family of rhythms used as timelines (ostinatos), in traditional world music. These rhythms, here dubbed Euclidean rhythms, have the property that their onset patterns are distributed as evenly as possible in a mathematically precise sense, and optimal manner.",
+		"container-title": "In Proceedings of BRIDGES: Mathematical Connections in Art, Music and Science",
+		"page": "47–56",
+		"title": "The Euclidean Algorithm Generates Traditional Musical Rhythms",
+		"URL": "http://citeseerx.ist.psu.edu/viewdoc/summary?doi=10.1.1.62.231",
+		"author": [
+			{
+				"family": "Toussaint",
+				"given": "Godfried"
+			}
+		],
+		"issued": {
+			"date-parts": [
+				[
+					"2005"
+				]
+			]
+		}
+	},
+	{
+		"id": "roberts2015",
+		"type": "paper-conference",
+		"abstract": "We describe research extending the interactive affordances of textual code fragments in creative coding environments. In particular we examine the potential of source code both to display the state of running processes and also to alter state using means other than traditional text editing. In contrast to previous research that has focused on the inclusion of additional interactive widgets inside or alongside text editors, our research adds a parsing stage to the runtime evaluation of code fragments and imparts additional interactive capabilities on the source code itself. After implementing various techniques in the creative coding environment Gibber, we evaluate our research through a survey on the various methods of visual feedback provided by our research. In addition to results quantifying preferences for certain techniques over others, we found near unanimous support among survey respondents for including similar techniques in other live coding environments.",
+		"collection-title": "NIME 2015",
+		"container-title": "Proceedings of the international conference on New Interfaces for Musical Expression",
+		"event-place": "Baton Rouge, Louisiana, USA",
+		"ISBN": "978-0-692-49547-6",
+		"page": "126–131",
+		"publisher": "The School of Music and the Center for Computation and Technology (CCT), Louisiana State University",
+		"publisher-place": "Baton Rouge, Louisiana, USA",
+		"source": "ACM Digital Library",
+		"title": "Beyond Editing: Extended Interaction with Textual Code Fragments",
+		"title-short": "Beyond Editing",
+		"author": [
+			{
+				"family": "Roberts",
+				"given": "Charles"
+			},
+			{
+				"family": "Wright",
+				"given": "Matthew"
+			},
+			{
+				"family": "Kuchera-Morin",
+				"given": "JoAnn"
+			}
+		],
+		"accessed": {
+			"date-parts": [
+				[
+					"2021",
+					1,
+					27
+				]
+			]
+		},
+		"issued": {
+			"date-parts": [
+				[
+					"2015",
+					5,
+					30
+				]
+			]
+		}
+	},
+	{
+		"id": "rohrhuberSuperDirt2022",
+		"type": "software",
+		"abstract": "Tidal Audio Engine",
+		"genre": "SuperCollider",
+		"license": "GPL-2.0",
+		"note": "original-date: 2015-11-03T20:18:44Z",
+		"publisher": "musikinformatik",
+		"source": "GitHub",
+		"title": "SuperDirt",
+		"URL": "https://github.com/musikinformatik/SuperDirt",
+		"author": [
+			{
+				"family": "Rohrhuber",
+				"given": "Julian"
+			}
+		],
+		"accessed": {
+			"date-parts": [
+				[
+					"2022",
+					6,
+					24
+				]
+			]
+		},
+		"issued": {
+			"date-parts": [
+				[
+					"2022",
+					6,
+					24
+				]
+			]
+		}
+	},
+	{
+		"id": "mcleanAlgorithmicPattern2020",
+		"type": "paper-conference",
+		"abstract": "This paper brings together two main perspectives on algorithmic pattern. First, the writing of musical patterns in live coding performance, and second, the weaving of patterns in textiles. In both cases, algorithmic pattern is an interface between the human and the outcome, where small changes have far-reaching impact on the results. By bringing contemporary live coding and ancient textile approaches together, we reach a common view of pattern as algorithmic movement (e.g. looping, shifting, reflecting, interfering) in the making of things. This works beyond the usual definition of pattern used in musical interfaces, of mere repeating sequences. We conclude by considering the place of algorithmic pattern in a wider activity of making.",
+		"container-title": "Proceedings of the International Conference on New Interfaces for Musical Expression",
+		"event-place": "Birmingham, UK",
+		"event-title": "NIME2020",
+		"page": "265--270",
+		"publisher-place": "Birmingham, UK",
+		"title": "Algorithmic Pattern",
+		"URL": "https://zenodo.org/record/4813352",
+		"author": [
+			{
+				"family": "Mclean",
+				"given": "Alex"
+			}
+		],
+		"accessed": {
+			"date-parts": [
+				[
+					"2022",
+					1,
+					9
+				]
+			]
+		},
+		"issued": {
+			"date-parts": [
+				[
+					"2020",
+					6,
+					1
+				]
+			]
+		}
+	},
+	{
+		"id": "mcleanFeedforward2020",
+		"type": "paper-conference",
+		"abstract": "This is an improvised, from-scratch live coding performance. The NIME interface which this performance showcases is the new Feedfoward editor for the TidalCycles live coding environment. Feedforward is written in Haskell using the ncurses library for terminal-based user interfaces. It runs on low-powered hardware including the Raspberry Pi Zero, with formative testing of prototypes conducted with several groups of children between the ages of 8 and 14. Feedforward has a number of features designed to support improvised, multi-pattern live coding. Individual Tidal patterns are addressable with hotkeys for fast mute and unmuting. Each pattern has a stereo VU meter, to aid the quick matching of sound to pattern within a mix. In addition, TidalCycles has been extended to store context with each event, so that source code positions in its polyrhythmic sequence mini-notation are tracked. This allows steps to be highlighted in the source code when- ever they are active. This works even when Tidal combinators have been applied to manipulate the timeline. Formal evaluation has yet to take place, but this feature appears to support learning of how pattern manipulations work in Tidal. Feedforward and TidalCycles is free/open source software under a GPL licence version 3.0.",
+		"container-title": "Proceedings of New Interfaces for Musical Expression",
+		"event-place": "Birmingham",
+		"event-title": "NIME2020",
+		"publisher-place": "Birmingham",
+		"title": "Feedforward",
+		"URL": "https://zenodo.org/record/6353969",
+		"author": [
+			{
+				"family": "McLean",
+				"given": "Alex"
+			}
+		],
+		"accessed": {
+			"date-parts": [
+				[
+					"2022",
+					6,
+					24
+				]
+			]
+		},
+		"issued": {
+			"date-parts": [
+				[
+					"2020",
+					7,
+					21
+				]
+			]
+		}
+	},
+	{
+		"id": "robertsGibberLiveCoding2012",
+		"type": "paper-conference",
+		"abstract": "We present Gibber: a live coding environment for web browsers. Gibber performances are written in pure Java-Script with no syntactical additions or modifications; this enables Gibber code to be executed in any web page viewed inside a browser implementing a realtime audio API. Gib-ber offers an array of synthesis options (FM, granular, subtractive, physical modeling), audio effects and sequenc-ing objects to control them. The Gibber environment en-ables simple networked performances where multiple users simultaneously control a remote instance of Gibber. We strove to make the syntax of Gibber clear and concise; when coupled with the ability to run examples in any web page this gives Gibber interesting possibilities as an edu-cational tool. 1.",
+		"container-title": "In Proceedings of the 2012 International Computer Music Conference",
+		"source": "CiteSeer",
+		"title": "Gibber: Live coding audio in the browser",
+		"title-short": "Gibber",
+		"author": [
+			{
+				"family": "Roberts",
+				"given": "Charles"
+			},
+			{
+				"family": "Kuchera-morin",
+				"given": "Joann"
+			}
+		],
+		"issued": {
+			"date-parts": [
+				[
+					"2012"
+				]
+			]
+		}
+	},
+	{
+		"id": "ogbornEstuaryBrowserbasedCollaborative2017",
+		"type": "paper-conference",
+		"abstract": "This paper describes the initial design and development of Estuary, a browser-based collaborative projectional editing environment built on top of the popular TidalCycles language for the live coding of musical pattern. Key features of Estuary include a strict form of structure editing (making syntactical errors impossible), a click-only border-free approach to interface design, explicit notations to modulate the liveness of different parts of the code, and a server-based network collaboration system that can be used for many simultaneous collaborative live coding performances, as well as to present different views of the same live coding activity. Estuary has been developed using Reflex-DOM, a Haskell-based framework for web development whose strictness promises robustness and security advantages.",
+		"container-title": "Proceedings of the International Conference on Live Coding",
+		"event-place": "Morelia",
+		"event-title": "ICLC2017",
+		"language": "en",
+		"page": "11",
+		"publisher-place": "Morelia",
+		"source": "Zotero",
+		"title": "Estuary: Browser-based Collaborative Projectional Live Coding of Musical Patterns",
+		"author": [
+			{
+				"family": "Ogborn",
+				"given": "David"
+			},
+			{
+				"family": "Beverley",
+				"given": "Jamie"
+			},
+			{
+				"family": "Navarro del Angel",
+				"given": "Luis"
+			},
+			{
+				"family": "Tsabary",
+				"given": "Eldad"
+			},
+			{
+				"family": "McLean",
+				"given": "Alex"
+			}
+		],
+		"issued": {
+			"date-parts": [
+				[
+					"2017"
+				]
+			]
+		}
+	},
+	{
+		"id": "mcleanTidalVortexZero2022",
+		"type": "paper-conference",
+		"abstract": "In this paper we introduce ‘version zero’ of TidalVortex, an alternative implementation of the TidalCycles live coding system, using the Python programming language.  This is open-ended work, exploring what happens when we try to extract the 'essence' of a system like TidalCycles and translate it into another programming language, while taking advantage of the affordance of its new host. First, we review the substantial prior art in porting TidalCycles, and in representing musical patterns in Python. We then compare equivalent patterns written in Haskell (TidalCycles) and Python (TidalVortex), and relate implementation details of how functional reactive paradigms have translated from the pure functional, strongly typed Haskell to the more multi-paradigm, dynamically typed Python. Finally, we conclude with reflections and generalisable outcomes.",
+		"container-title": "Proceedings of the 7th International Conference on Live Coding",
+		"DOI": "10.5281/zenodo.6456380",
+		"event-place": "Limerick, Ireland",
+		"event-title": "ICMC2022",
+		"note": "event-title: International Conference on Computer Music (ICMC)",
+		"publisher": "Zenodo",
+		"publisher-place": "Limerick, Ireland",
+		"title": "TidalVortex Zero",
+		"URL": "https://zenodo.org/record/6456380/export/hx",
+		"author": [
+			{
+				"family": "McLean",
+				"given": "Alex"
+			},
+			{
+				"family": "Forment",
+				"given": "Raphaël"
+			},
+			{
+				"family": "Le Beux",
+				"given": "Sylvain"
+			},
+			{
+				"family": "Silvani",
+				"given": "Damián"
+			}
+		],
+		"accessed": {
+			"date-parts": [
+				[
+					"2022",
+					6,
+					24
+				]
+			]
+		},
+		"issued": {
+			"date-parts": [
+				[
+					"2022",
+					4,
+					12
+				]
+			]
+		}
+	},
+	{
+		"id": "solomonPurescriptocarina2022",
+		"type": "software",
+		"abstract": "Web audio graphs as a stream",
+		"genre": "PureScript",
+		"license": "Apache-2.0",
+		"note": "original-date: 2021-03-25T12:19:55Z",
+		"source": "GitHub",
+		"title": "purescript-ocarina",
+		"URL": "https://github.com/mikesol/purescript-ocarina",
+		"author": [
+			{
+				"family": "Solomon",
+				"given": "Mike"
+			}
+		],
+		"accessed": {
+			"date-parts": [
+				[
+					"2022",
+					6,
+					24
+				]
+			]
+		},
+		"issued": {
+			"date-parts": [
+				[
+					"2022",
+					6,
+					20
+				]
+			]
+		}
+	},
+	{
+		"id": "orlareyFaustProgrammingLanguage2023",
+		"type": "software",
+		"abstract": "Functional programming language for signal processing and sound synthesis",
+		"genre": "C++",
+		"note": "original-date: 2016-11-05T13:09:11Z",
+		"publisher": "GRAME",
+		"source": "GitHub",
+		"title": "Faust - Programming Language for Audio Applications and Plugins",
+		"URL": "https://github.com/grame-cncm/faust",
+		"author": [
+			{
+				"family": "Orlarey",
+				"given": "Yann"
+			},
+			{
+				"family": "Fober",
+				"given": "Dominique"
+			},
+			{
+				"family": "Letz",
+				"given": "Stéphane"
+			}
+		],
+		"accessed": {
+			"date-parts": [
+				[
+					"2023",
+					3,
+					14
+				]
+			]
+		},
+		"issued": {
+			"date-parts": [
+				[
+					"2023",
+					3,
+					13
+				]
+			]
+		}
+	},
+	{
+		"id": "jackHydra2023",
+		"type": "software",
+		"abstract": "Livecoding networked visuals in the browser",
+		"genre": "JavaScript",
+		"license": "AGPL-3.0",
+		"note": "original-date: 2022-06-13T16:57:34Z",
+		"source": "GitHub",
+		"title": "Hydra",
+		"URL": "https://github.com/ojack/hydra",
+		"author": [
+			{
+				"family": "Jack",
+				"given": "Olivia"
+			}
+		],
+		"accessed": {
+			"date-parts": [
+				[
+					"2023",
+					3,
+					14
+				]
+			]
+		},
+		"issued": {
+			"date-parts": [
+				[
+					"2023",
+					3,
+					8
+				]
+			]
+		}
+	},
+	{
+		"id": "lanGlicol2023",
+		"type": "software",
+		"abstract": "Graph-oriented live coding language and music DSP library written in Rust",
+		"genre": "Rust",
+		"license": "MIT",
+		"note": "original-date: 2020-07-13T22:13:33Z",
+		"source": "GitHub",
+		"title": "Glicol",
+		"URL": "https://github.com/chaosprint/glicol",
+		"author": [
+			{
+				"family": "Lan",
+				"given": "Qichao"
+			}
+		],
+		"accessed": {
+			"date-parts": [
+				[
+					"2023",
+					3,
+					14
+				]
+			]
+		},
+		"issued": {
+			"date-parts": [
+				[
+					"2023",
+					3,
+					14
+				]
+			]
+		}
+	},
+	{
+		"id": "ogbornWebDirt2022",
+		"type": "software",
+		"abstract": "Sampling engine implemented in Web Audio API (rough re-creation of Dirt)",
+		"genre": "JavaScript",
+		"license": "GPL-3.0",
+		"note": "original-date: 2016-05-04T21:19:04Z",
+		"source": "GitHub",
+		"title": "WebDirt",
+		"URL": "https://github.com/dktr0/WebDirt",
+		"author": [
+			{
+				"family": "Ogborn",
+				"given": "David"
+			}
+		],
+		"accessed": {
+			"date-parts": [
+				[
+					"2023",
+					3,
+					14
+				]
+			]
+		},
+		"issued": {
+			"date-parts": [
+				[
+					"2022",
+					12,
+					14
+				]
+			]
+		}
+	},
+	{
+		"id": "roosStrudelAlgorithmicPatterns2022",
+		"type": "paper-conference",
+		"abstract": "This paper introduces Strudel (or sometimes StrudelCycles), an alternative implementation of the Tidal (or Tidal-Cycles) live coding system, using the JavaScript programming language. Strudel is an attempt to make live coding more accessible, by creating a system that runs entirely in the browser, while opening Tidals approach to algorithmic patterns (Mclean 2020) up to modern audio/visual web technologies. The Strudel REPL is a live code editor dedicated to manipulating Strudel patterns while they play, with builtin visual feedback. While Strudel is written in JavaScript, the API is optimized for simplicity and readability by applying code transformations on the syntax tree level, allowing language operations that would otherwise be impossible. The application supports multiple ways to output sound, including Tone.js, Web Audio nodes, OSC (Open Sound Control) messages, Web Serial andWeb MIDI. The project is split into multiple packages, allowing granular reuse in other applications. Apart from TidalCycles, Strudel draws inspiration from many prior existing projects like TidalVortex (McLean et al. 2022), Gibber (Roberts and Kuchera-morin 2012), Estuary (Ogborn et al. 2017), Hydra (Jack [2022] 2022), Ocarina (Solomon [2021] 2022) and Feedforward (McLean 2020).",
+		"container-title": "Proceedings of Web Audio Conference",
+		"event-place": "Cannes, France",
+		"event-title": "WAC2022",
+		"note": "DOI: 10.5281/zenodo.6821023\npublisher: Zenodo",
+		"publisher-place": "Cannes, France",
+		"title": "Strudel: Algorithmic Patterns for the Web",
+		"URL": "https://zenodo.org/record/6821023",
+		"author": [
+			{
+				"family": "Roos",
+				"given": "Felix"
+			},
+			{
+				"family": "McLean",
+				"given": "Alex"
+			}
+		],
+		"accessed": {
+			"date-parts": [
+				[
+					"2022",
+					11,
+					29
+				]
+			]
+		},
+		"issued": {
+			"date-parts": [
+				[
+					"2022",
+					6,
+					28
+				]
+			]
+		}
+	},
+	{
+		"id": "yiWebAssemblyAudioWorkletCsound2018",
+		"type": "paper-conference",
+		"abstract": "This paper describes WebAssembly AudioWorklet (WAAW)\nCsound, one of the implementations of Web Audio Csound.\nWe begin by introducing the background to this current implementation, stemming from the two first ports of Csound\nto the web platform using Native Clients and asm.js. The\ntechnology of WebAssembly is then introduced and discussed in its more relevant aspects. The AudioWorklet interface of Web Audio API is explored, together with its use in\nWAAW Csound. We complement this discussion by considering the overarching question of support for multiple platforms, which implement different versions of Web Audio.\nSome initial examples of the system are presented to illustrate various potential applications. Finally, we complement\nthe paper by discussing current issues that are fundamental\nfor this project and others that rely on the development of\na robust support for WASM-based audio computing.",
+		"event-place": "Berlin, Germany",
+		"event-title": "Web Audio Conference WAC-2018",
+		"language": "en",
+		"publisher-place": "Berlin, Germany",
+		"source": "mural.maynoothuniversity.ie",
+		"title": "WebAssembly AudioWorklet Csound",
+		"URL": "https://mural.maynoothuniversity.ie/16018/",
+		"author": [
+			{
+				"family": "Yi",
+				"given": "Steven"
+			},
+			{
+				"family": "Lazzarini",
+				"given": "Victor"
+			},
+			{
+				"family": "Costello",
+				"given": "Edward"
+			}
+		],
+		"accessed": {
+			"date-parts": [
+				[
+					"2023",
+					3,
+					14
+				]
+			]
+		},
+		"issued": {
+			"date-parts": [
+				[
+					"2018"
+				]
+			]
+		}
+	},
+	{
+		"id": "majdaPeggy2023",
+		"type": "software",
+		"abstract": "Peggy: Parser generator for JavaScript",
+		"genre": "JavaScript",
+		"license": "MIT",
+		"note": "original-date: 2020-11-21T11:52:39Z",
+		"publisher": "peggyjs",
+		"source": "GitHub",
+		"title": "Peggy",
+		"URL": "https://github.com/peggyjs/peggy",
+		"author": [
+			{
+				"family": "Majda",
+				"given": "David"
+			}
+		],
+		"accessed": {
+			"date-parts": [
+				[
+					"2023",
+					3,
+					14
+				]
+			]
+		},
+		"issued": {
+			"date-parts": [
+				[
+					"2023",
+					3,
+					14
+				]
+			]
+		}
+	}
+]

paper/iclc/iclc2023.md

@@ -8,7 +8,7 @@ author:
     affiliation: Then Try This
     email: alex@slab.org
 abstract: |
-  This paper introduces Strudel, which brings the TidalCycles approach to live coding algorithmic patterns to native JavaScript and the web. We begin by giving a little background of the first year of development, before sharing some detail about its implementation and examples of use. We go on to outline the wide range of synthesis and other outputs available in Strudel, including WebAudio, MIDI, OSC (for SuperDirt), WebSerial and CSound, and introduce Strudel's REPL live editor, including its built-in visualisations. We then compare Strudel with Tidal, the trade-offs involved between JavaScript and Haskell, and the unique capabilities offered by Strudel for aligning patterns, before concluding with some thoughts about the future.
+  This paper introduces Strudel, which faithfully ports the TidalCycles approach to live coding algorithmic patterns to native JavaScript and the web. We begin by giving a little background of the first year of development, before sharing some detail about its implementation and examples of use. We go on to outline the wide range of synthesis and other outputs available in Strudel, including WebAudio, MIDI, OSC (for SuperDirt), WebSerial and CSound, and introduce Strudel's REPL live editor, including its built-in visualisations. We then compare Strudel with Tidal, the trade-offs involved between JavaScript and Haskell, and the unique capabilities offered by Strudel for aligning patterns, before concluding with some thoughts about the future.
 bibliography: citations.json
 fontsize: 11pt
 geometry: margin=2cm
@@ -23,37 +23,36 @@ date: '2022-12-14'
 
 In the following paper, we introduce *Strudel*, an alternative
 implementation of the TidalCycles (or 'Tidal' for short) live coding
-system, using the JavaScript programming language. Strudel is an
+system. Whereas Tidal is implemented in the pure functional Haskell programming language, Strudel brings it to the multi-paradigm, web-centric JavaScript language. Strudel is an
 attempt to make live coding more accessible, by creating a system that
-runs entirely in the browser, while opening Tidal's approach to
-algorithmic patterns [@mcleanAlgorithmicPattern2020a] up to modern
+can run entirely in the browser, while opening Tidal's approach to
+algorithmic patterns [@mcleanAlgorithmicPattern2020] up to modern
 audio/visual web technologies. The Strudel REPL is a live code editor
 dedicated to manipulating patterns while they play, with builtin
-visual feedback. While Strudel is written in JavaScript, the API is
-optimized for simplicity and readability by applying code
+visual feedback. While Strudel is written in standard JavaScript, it does support some optimisations for simplicity, readability and editability by applying code
 transformations on the syntax tree level, allowing language operations
 that would otherwise be impossible. The application supports multiple
 ways to output sound, including Tone.js, Web Audio Nodes, OSC (Open
 Sound Control) messages, Web Serial, Web MIDI and Csound. The project
 is split into multiple packages, allowing granular reuse in other
 applications. Apart from TidalCycles, Strudel draws inspiration from
-many prior existing projects like TidalVortex
+several other existing projects like TidalVortex
 [@mcleanTidalVortexZero2022], Gibber [@robertsGibberLiveCoding2012],
 Estuary [@ogbornEstuaryBrowserbasedCollaborative2017], Hydra
-[@jackHydra2022], Ocarina [@solomonPurescriptocarina2022] and
-Feedforward [@mcleanFeedforward2020]. This paper expands the Strudel
-Demo paper for the Web Audio Conference 2022 [@StrudelWAC2022].
+[@jackHydra2023], Ocarina [@solomonPurescriptocarina2022] and
+Feedforward [@mcleanFeedforward2020]. This paper builds upon a 
+demo paper presented at Web Audio Conference 2022 [@roosStrudelAlgorithmicPatterns2022].
 
 The first tentative commit to the Strudel project was on 22nd January
 2022 by Alex McLean, with the core representation implemented over the
 following few days. Although this was his first attempt at a
 JavaScript-based application, by 27th January, Alex had managed to
-upload the initial version to the 'npm' javascript package database,
+upload an initial version to the 'npm' JavaScript package database,
 sharing with the wider community for comment. By 4th February, Felix
 Roos had discovered Strudel and contributed a 'REPL' user interface to
-it, and then contributed a scheduler the next day, so that Strudel
-could already make sound.  At this point, Alex and Felix shared
-ownership to the repository, and the project has since proved to be a
+it, and a scheduler the following day, so that Strudel
+could already begin to make sound.  At this point, Alex and Felix shared
+ownership of the repository, and the project has since proved to be a
 productive confluence of Felix's own work into music representation
 and visualisation, with Alex's experience with making Tidal. Felix has
 since become the primary contributor to Strudel, with Alex continuing
@@ -61,24 +60,24 @@ to jump between developing both Strudel and Tidal. Aspects of
 Strudel's development have therefore fed back into TidalCycles, and
 both systems have maintained a shared conceptual underpinning. We plan
 to continue working towards feature parity between these systems,
-although within the syntactical trade-offs and library ecosystems of
+although within the different syntactical trade-offs and library ecosystems of
 JavaScript and Haskell, some divergence is inevitable and healthy.
 
-Over the first year of its life, Strudel is now a fully-fledged live
-coding environment, porting Tidal's core represention of patterns,
+Now celebrating the first year of its life, Strudel is now a fully-fledged live
+coding environment, porting Tidal's core representation of patterns,
 pattern transformations, and mini-notation for polymetric sequences,
 combined with a wealth of features for synthesising and visualising
 those patterns.
 
 # From Tidal to Strudel and back
 
-As mentioned above, the original Tidal is implemented as a domain specific language (DSL) embedded in the Haskell pure functional programming language, and takes advantage of Haskell's terse syntax and advanced, 'strong' type system. JavaScript on the other hand, is a multi-paradigm programming language, with a dynamic type system. Because Tidal leans heavily on many of Haskell's more unique features, it was not always clear that it could meaningfully be ported to a multi-paradigm scripting language. However, this possibility was already demonstrated with an earlier port to Python [TidalVortex; @mcleanTidalVortexZero2022], and we have now successfully implemented Tidal's pure functional representation of patterns in Strudel, including partial application, currying, and the functor, applicative and monadic structures that underlie Tidal's expressive pattern transformations. The result is a terse and highly composable system, where everything is either a pattern, or a function for combining and manipulating patterns, offering a rich creative ground for exploration.
+As mentioned earlier, the original Tidal is implemented as a domain specific language (DSL) embedded in the Haskell pure functional programming language, and takes advantage of Haskell's terse syntax and advanced, 'strong' type system. JavaScript on the other hand, is a multi-paradigm programming language, with a dynamic type system. Because Tidal leans heavily on many of Haskell's more unique features, it was not always clear that it could meaningfully be ported to a multi-paradigm scripting language. However, this possibility was already demonstrated with an earlier port to Python [TidalVortex; @mcleanTidalVortexZero2022], and we have now successfully implemented Tidal's pure functional representation of patterns in Strudel, including partial application, currying, and the functor, applicative and monadic structures that underlie Tidal's expressive pattern transformations. The result is a terse and highly composable system, where everything is either a pattern, or a function for combining and manipulating patterns, offering a rich creative ground for exploration.
 
 This development process has been far from a one-way port, however. The process of porting Tidal's concepts has also opened up new possibilities, some just from revisiting every design decision, and some from the particular affordances and constraints offered by JavaScript. This has lead to new features (and indeed bugfixes) that have found their way back to Tidal where appropriate, and ongoing work that we will return to in the conclusion of this paper.
 
 # Representing Patterns
 
-Patterns are the essence of Tidal. Its patterns are abstract entities that represent flows of time as functions, adapting a technique called pure functional reactive programming. Taking a time span as its input, a Pattern can output a set of events that happen within that time span. It depends on the structure of the Pattern how the events are located in time.
+Patterns are the essence of Tidal. Its patterns are abstract entities that represent flows of time as functions, adapting a technique called pure functional reactive programming. Taking a time span as its input, a Pattern will output a set of events that happen within that time span. It depends on the structure of the Pattern how the events are located in time.
 From now on, this process of generating events from a time span will be called **querying**.
 Example:
 
@@ -101,7 +100,7 @@ The resulting events are:
 
 Each event has a value, a begin time and an end time, where time is represented as a fraction. In the above case, the events are placed in sequential order, where c3 takes the first half, and e3 and g3 together take the second half. This temporal placement is the result of the `sequence` function, which divides its arguments equally over one cycle. If an argument is an array, the same rule applies to that part of the cycle. In the example, e3 and g3 are divided equally over the second half of the whole cycle.
 
-Note that the query function is not just a way to access a pattern, but true to the principles of functional programming, is the pattern itself. This means that in theory there is no way to change a pattern, it is opaque as a pure function. In practice though, Strudel and Tidal are all about transforming patterns, so how is this done? The answer is, by replacing the pattern with a new one, that calls the old one. This new one is only able to manipulate the query before passing it to the old pattern, and manipulate the results from it before returning them to caller. But, this is enough to support all the temporal and structural manipulations provided by Strudel (and Tidal's) extensive library of functions.
+Note that the query function is not just a way to access a pattern, but true to the principles of functional programming, is the pattern itself. This means that in theory there is no way to change a pattern, it is opaque as a pure function. In practice though, Strudel and Tidal are all about transforming patterns, so how is this done? The answer is, by replacing the pattern with a new one, that calls the old one. This new function is only able to manipulate the query before passing it to the old pattern, and manipulate the results from it before returning them to caller. But, this is enough to support all the temporal and structural manipulations provided by Strudel (and Tidal's) extensive library of functions.
 
 The above examples do not represent how Strudel is used in practice. In the live coding editor, the user only has to type in the pattern itself, the querying will be handled by the scheduler. The scheduler will repeatedly query the pattern for events, which are then scheduled as sound synthesis or other event triggers.
 Also, the above event data structure has been simplified for readability.
@@ -110,7 +109,7 @@ Also, the above event data structure has been simplified for readability.
 
 # Making Patterns
 
-In practice, the end-user live coder will not deal with constructing patterns directly, but will rather build patterns using Strudel's extensive combinator library to create, combine and transform patterns.
+In practice, the end-user live coder will not deal with constructing patterns directly, but will rather build patterns using Strudel's extensive combinator library, to create, combine and transform patterns.
 
 The live coder will rarely use the `sequence` function as seen above, as sequencing is implicit in many functions. For example in the following, the `note` function constructs a pattern of notes, sequencing its arguments in the same manner as the previous example.
 
@@ -118,29 +117,29 @@ The live coder will rarely use the `sequence` function as seen above, as sequenc
 note(c3, [e3, g3])
 ```
 
-Perhaps more often, they will use the mini-notation for even terser notation of rhythmic sequences: ^[This last example is also valid Tidal code, albeit the parenthesis is not required in its Haskell syntax in this case. Tidal does not support passing sequences as lists directly to the `note` function, however.].
+Perhaps more often, they will use the mini-notation for even terser notation of rhythmic sequences: ^[This example is also valid Tidal code, albeit the parenthesis is not required in its Haskell syntax in this case. Tidal does not support passing sequences as lists directly to the `note` function, however.].
 
 ```js
 note("c3 [e3 g3]")
 ```
 
-Such sequences are often treated only as a starting point for manipulation, where they then undergo pattern transformations such as repetition, symmetry, interference/combination or randomisation, potentially at multiple timescales. Because Strudel patterns are represented as pure functions of time rather than as data structures, very long and complex generative results can be represented and manipulated without having to store the resulting sequences in memory.
+Such sequences are often treated only as a starting point for manipulation, where functions are then applied which represent pattern transformations such as repetition, symmetry, interference/combination or randomisation, potentially at multiple timescales. Because Strudel patterns are represented as pure functions of time rather than as data structures, very long and complex generative results can be represented and manipulated without having to store the resulting sequences in memory.
 
 # Pattern Example
 
-The following example showcases how patterns can be utilized to create musical complexity from simple parts, using repetition and interference:
+The following example showcases how patterns can be utilised to create musical complexity from simple parts, using repetition and interference:
 
 ```js
 "<0 2 [4 6](3,4,1) 3>"
 .off(1/4, add(2))
 .off(1/2, add(6))
-.scale('D minor')
-.legato(.25)
+.scale('D3 minor')
 .note().s("sawtooth square")
+.legato(.25)
 .delay(.8).delaytime(.125)
 ```
 
-The pattern starts with a rhythm of numbers in mini-notation, which are later interpreted inside the scale of D minor.
+The pattern starts with a rhythmic pattern of numbers expressed in mini-notation, which are later interpreted inside the scale of D minor.
 The first line could also be expressed without mini-notation:
 
 ```js
@@ -153,16 +152,16 @@ These numbers then undergo various pattern transformations. Here is a short desc
 - `brackets`: elements inside brackets are divided equally over the time of their parent
 - `.euclid(p, s, o)`: place p pulses evenly over s steps, with offset o [@toussaintEuclideanAlgorithmGenerates2005]
 - `.off(n, f)`: layers a pattern on top of itself, with the new layer offset by n cycles, and with function f applied
-- `.legato(n)`: multiply the duration of all events in a pattern by a factor of n
-- `.echo(t, n, v)`: copy each event t times, with n cycles in between each copy, decreasing velocity by v
-- `.note()`: interpretes values as notes
+- `.scale(name)`: interpretes numbers as indices inside the given scale
+- `.note()`: interprets values as notes
 - `.s(name)`: play back each event with the given sound
-- `.delay(wet)`: add delay
+- `.legato(n)`: multiply the duration of all events in a pattern by a factor of n
+- `.delay(amount)`: delay effect send amount
 - `.delaytime(t)`: set delay time
 
 Much of the above will be familiar to Tidal users.
 
-<!-- This example shows some of Strudel's unique support for chords and transposition familiar to students of Western music theory. This differs a little from Tidal's approach and thanks to the integration of the javascript library XXX (*TODO* ? or is this all your work Felix?), Strudel's support for tonal transformations such as voice leading is perhaps respects more advanced than Tidal. -->
+<!-- This example shows some of Strudel's unique support for chords and transposition familiar to students of Western music theory. This differs a little from Tidal's approach and thanks to the integration of the JavaScript library XXX (*TODO* ? or is this all your work Felix?), Strudel's support for tonal transformations such as voice leading is perhaps respects more advanced than Tidal. -->
 
 # Ways to make Sound (and other events)
 
@@ -181,11 +180,11 @@ While the Web Audio API takes a *fire-and-forget* approach, creating a lot of To
 
 Strudel's new default output uses the Web Audio API to create a new audio graph for each event. It currently supports basic oscillators, sample playback, various effects and an experimental support for soundfonts.
 
-WebDirt [@ogbornDktr0WebDirt2022] was created as part of the Estuary Live Coding System [@ogbornEstuaryBrowserbasedCollaborative2017], and proved to be a solid choice for handling samples in Strudel as well. We are however focused on working more directly with the Web Audio API to be able to integrate new features more tightly.
+WebDirt [@ogbornWebDirt2022] was created as part of the Estuary Live Coding System [@ogbornEstuaryBrowserbasedCollaborative2017], and proved to be a solid choice for handling samples in Strudel as well. We are however focused on working more directly with the Web Audio API to be able to integrate new features more tightly.
 
-Using the OSC protocol via Strudel's provided Node.js-based OSC proxy server, it is possible to send network messages to trigger events. This is mainly used to render sound using SuperDirt [@SuperDirt2022], which is the well-developed Supercollider-based synthesis framework that Tidal live coders generally use as standard.
+Using the OSC protocol via Strudel's provided Node.js-based OSC proxy server, it is possible to send network messages to trigger events. This is mainly used to render sound using SuperDirt [@rohrhuberSuperDirt2022], which is the well-developed Supercollider-based synthesis framework used by Tidal live coders as standard.
 
-Recently, the experimental integration of Csound proved to bring a new dimension of sound design capabilities to Strudel. Thanks to the WebAssembly distribution of this classic system [@CsoundWebAssembly], Csound 'orchestra' synthesisers can be embedded in and then patterned with Strudel code.
+Recently, the experimental integration of Csound proved to bring a new dimension of sound design capabilities to Strudel. Thanks to the WebAssembly distribution of this classic system [@yiWebAssemblyAudioWorkletCsound2018], Csound 'orchestra' synthesisers can be embedded in and then patterned with Strudel code.
 
 MIDI output can also be used to send MIDI messages to either external instruments or to other programs on the same device. Unlike OSC, Strudel is able to send MIDI directly without requiring additional proxy software, but only from web browsers that support it (at the time of writing, this means Chromium-based browsers).
 
@@ -231,17 +230,13 @@ mini("c3 [e3 g3]*2").withMiniLocation([1,0,0],[1,14,14])
 
 Here, the string is wrapped in `mini`, which will create a pattern from a mini-notation string. Additionally, the `withMiniLocation` method passes the original source code location of the string to the pattern, which enables highlighting active events.
 
-Other convenient features like pseudo variables, operator overloading and top level await are possible with transpilation.
-
-After the transpilation, the code is ready to be evaluated into a `Pattern`.
-
-Behind the scenes, the user code string is parsed with `acorn`, turning it into an Abstract Syntax Tree (AST). The AST allows changing the structure of the code before generating the transpiled version using `escodegen`.
+Other convenient features like pseudo variables, operator overloading and top level await are possible with transpilation. After the transpilation, the code is ready to be evaluated into a `Pattern`. Behind the scenes, the user code string is parsed with `acorn`, turning it into an Abstract Syntax Tree (AST). The AST allows changing the structure of the code before generating the transpiled version using `escodegen`.
 
 ### Mini-notation
 
-While the transpilation allows JavaScript to express Patterns in a less verbose way, it is still preferable to use the mini-notation as a more compact way to express rhythm. Strudel aims to provide the same mini-notation features and syntax as used in Tidal.
+While the transpilation allows us to express patterns in JavaScript in a less verbose way, it is still preferable to use the mini-notation as a more compact way to express rhythm. Strudel aims to provide the same mini-notation features and syntax as used in Tidal.
 
-The mini-notation parser is implemented using `peggy`, which allows generating performant parsers for Domain Specific Languages (DSLs) using a concise grammar notation. The generated parser turns the mini-notation string into an AST which is used to call the respective Strudel functions with the given structure. For example, `"c3 [e3 g3]*2"` will result in the following calls:
+The mini-notation parser is implemented using `peggy` [@majdaPeggy2023], which allows generating performant parsers for Domain Specific Languages (DSLs) using a concise grammar notation. The generated parser turns the mini-notation string into an AST which is used to call the respective Strudel functions with the required structure. For example, `"c3 [e3 g3]*2"` will result in the following calls:
 
 ```js
 seq(
@@ -255,12 +250,12 @@ seq(
 
 ### Highlighting Locations
 
-As seen in the examples above, both the JS and the mini-notation parser add source code locations using `withMiniLocation` and `withLocation` methods. While the JS parser adds locations relative to the user code as a whole, the mini-notation adds locations relative to the position of the mini-notation string. The absolute location of elements within mini-notation can be calculated by simply adding both locations together. This absolute location can be used to highlight active events in real time.
+As seen in the examples above, both the JS and the mini-notation parser add source code locations using `withMiniLocation` and `withLocation` methods. While the JS parser adds locations relative to the user code as a whole, the mini-notation adds locations relative to the position of the mini-notation string. The absolute location of elements within mini-notation can be calculated by simply adding both locations together. This absolute location is then used to highlight active events in real time. 
 
 ## Scheduling Events
 
 After an instance of `Pattern` is obtained from the user code,
-it is used by the scheduler to get queried for events. Once started, the scheduler runs at a fixed interval to query the active pattern for events within the current interval's time span. A simplified implementation looks like this:
+the scheduler queries it for events. Once started, the scheduler runs at a fixed interval to query the active pattern for events within the current interval's time span. A simplified implementation looks like this:
 
 ```js
 let pattern = seq('c3', ['e3', 'g3']); // pattern from user
@@ -277,7 +272,7 @@ setInterval(() => {
 }, interval * 1000); // query each "interval" seconds
 ```
 
-Note that the above code is simplified for illustrative purposes. The actual implementation has to work around imprecise callbacks of `setInterval`. More about the implementation details can be read in [this blog post](https://loophole-letters.vercel.app/web-audio-scheduling).
+Note that the above code is simplified for illustrative purposes, for example the actual implementation has to work around imprecise callbacks of `setInterval`. ^[Further implementation details of the Strudel scheduler can be read in this blog post: [loophole-letters.vercel.app/web-audio-scheduling](https://loophole-letters.vercel.app/web-audio-scheduling).]
 
 The fact that `Pattern.queryArc` is a pure function that maps a time span to a set of events allows us to choose any interval we like without changing the resulting output. It also means that when the pattern is changed from outside, the next scheduling callback will work with the new pattern, keeping its clock running.
 
@@ -310,7 +305,7 @@ const { x, y } = createParams('x', 'y')
 x(sine.range(0, 200)).y(cosine.range(0,200))
 ```
 
-This example creates the custom control parameters `x` and `y` which are then used to form a pattern that descibes the coordinates of a circle.
+This example creates the custom control parameters `x` and `y` which are then used to form a pattern that describes the coordinates of a circle.
 
 ### Outputs
 
@@ -328,13 +323,13 @@ function onTrigger(hap, deadline, duration) {
 }
 ```
 
-The above example will create an `OscillatorNode` for each event, where the frequency is controlled by the `note` param. In essence, this is how the WebAudio API output of Strudel works, only with many more parameters to control synths, samples and effects.
+The above example will create an `OscillatorNode` for each event, where the frequency is controlled by the `note` parameter. In essence, this is how the WebAudio API output of Strudel works, only with many more parameters to control synths, samples and effects.
 
 # Pattern alignment and combination
 
 One core aspect of Strudel, inherited from Tidal, is the flexible way that patterns can be combined, irrespective of their structure. Its declarative approach means a live coder does not have to think about the details of *how* this is done, only *what* is to be done.
 
-As a simple example, consider two number patterns `"0 [1 2] 3"`, and `"10 20"`. The first has three contiguous steps of equal lengths, with the second step broken down into two substeps, giving four events in total. There are a very large number of ways in which the structure of these two patterns could be combined, but the default method in both Strudel and Tidal is to line up the cycles of the two patterns, and then take events from the first pattern and match them with those in the second pattern. Therefore, the following two lines are equivalent:
+As a simple example, consider two number patterns `"0 [1 2] 3"`, and `"10 20"`. The first has three contiguous steps of equal lengths, the second of which is broken down into two substeps, giving four events in total. The second pattern simply has two steps, taking up half a cycle each. There are a very large number of ways in which the structure of these two patterns could be combined, but the default method in both Strudel and Tidal is to line up the cycles of the two patterns, and then take events from the first pattern and match them with those in the second pattern. Therefore, the following two lines are equivalent:
 
 ```js
 "0 [1 2] 3".add("10 20")
@@ -389,20 +384,20 @@ versus Strudel's simplicity.
 To demonstrate this, consider the following Tidal pattern:
 
 ```haskell
-iter 4 $ every 3 (||+ n "10 20") $ (n "0 1 3") # s "triangle" # crush 4
+iter 4 $ every 3 (||+ n "10 20") $ n "20 21 23" # s "triangle" # crush 4
 ```
 
 This can be directly translated to the Strudel equivalent:
 
 ```js
-iter(4, every(3, add.squeeze("10 20"), n("0 1 3").s("triangle").crush(4)))
+iter(4, every(3, x => x.add.squeeze(n("10 20")), n("20 21 23").s("triangle").crush(4)))
 ```
 
 Although for a more canonical Strudel expression, we would reorder it
 as:
 
 ```js
-n("0 1 3").every(3, add.squeeze("10 20")).iter(4).s("triangle").crush(4)
+n("20 21 23").every(3, x => x.add.squeeze(n("10 20"))).iter(4).s("triangle").crush(4)
 ```
 
 The Strudel example uses the `.` method call operator for all
@@ -426,17 +421,17 @@ features.
 
 With Strudel, we have little choice but to embrace the affordances and
 constraints offered by JavaScript, and while designing a
-domain-specific language based on method calls is a
+domain-specific language based on chaining method calls is a
 challenge, through creative adoption of functional programming
 techniques like partial application, we are so far very happy with the
 results. Tidal's functional reactive approach to pattern-making has in
 general translated well to JavaScript, and opportunities and
-constraints have overall traded off to create a very approachable and
-useable live coding environment.
+constraints have traded off to create a very approachable and
+usable live coding environment.
 
 ## The trade-off of flexible typing
 
-We have identified one problem with porting Tidal to JavaScript where we have missed Haskell's strict typing and type inference. In both Tidal and Strudel, time is rational, where any point in time is represented as the ratio of two integers. This allows representation of musical ratios such that are impossible to represent accurately using the more common floating point numbers. However while libraries are available that support rational numbers in JavaScript, the lack of strict typing means that it is easy to implement pattern methods where computationally expensive conversion from floating point to rational numbers are performed late, and therefore often enough to overload the CPUs, due to the large number of iterative calculations required to estimate a ratio for a given floating point number. To mitigate this problem, we might consider moving to TypeScript in the future.
+We have identified one problem with porting Tidal to JavaScript where we have missed Haskell's strict typing and type inference. In both Tidal and Strudel, time is rational, where any point in time is represented as the ratio of two integers. This allows representation of musical ratios such that are impossible to represent accurately using the more common floating point numbers. However while libraries are available that support rational numbers in JavaScript, the lack of strict typing means that computationally expensive conversion from floating point to rational numbers may be performed late, and therefore often enough to overload the CPUs, due to the large number of iterative calculations required to estimate a ratio for a given floating point number. To mitigate this problem, we might consider moving to TypeScript in the future.
 
 # Future Outlook
 
@@ -446,14 +441,14 @@ The project is still young, with many features on the horizon. As general guidin
 2. consistent with Tidal's approach to pattern
 3. modular and extensible
 
-While Haskell's type system makes it a great language for the ongoing development of Tidal's inner representation of pattern, JavaScript's vibrant ecosystem, flexibility and accessibility makes it a great host for more ad-hoc experiments, including interface design. For the future, it is planned to integrate additional alternative sound engines such as Glicol [@lanChaosprintGlicol2022] and Faust [@FaustProgrammingLanguage2022]. Strudel is already approaching feature parity with Tidal, but there are more Tidal functions to be ported, and work to be done to improve compatibility with Tidal's mini-notation. Tidal version 2.0 is under development, which brings a new representation for sequences to its patterns, which will then be brought to Strudel. Besides sound, other ways to render events are being explored, such as graphical, and choreographic output. We are also looking into alternative ways of editing patterns, including multi-user editing for network music, parsing a novel syntax to escape the constraints of JavaScript, and developing hardware/e-textile interfaces. In summary, there is a lot of fun ahead.
+While Haskell's type system makes it a great language for the ongoing development of Tidal's inner representation of pattern, JavaScript's vibrant ecosystem, flexibility and accessibility makes it a great host for more ad-hoc experiments, including interface design. For the future, it is planned to integrate additional alternative sound engines such as Glicol [@lanGlicol2023] and Faust [@orlareyFaustProgrammingLanguage2023]. Strudel is already approaching feature parity with Tidal, but there are more Tidal functions to be ported, and work to be done to improve compatibility with Tidal's mini-notation. Tidal version 2.0 is under development, which brings a new representation for sequences to its patterns, which will then be brought to Strudel. Besides sound, other ways to render events are being explored, such as graphical, and choreographic output. We are also looking into alternative ways of editing patterns, including multi-user editing for network music, parsing a novel syntax to escape the constraints of JavaScript, and developing hardware/e-textile interfaces. In summary, there is a lot of fun ahead.
 
 # Links
 
 The Strudel REPL is available at <https://strudel.tidalcycles.org>, including an interactive tutorial.
 The repository is at <https://github.com/tidalcycles/strudel>, all the code is open source under the AGPL-3.0 License.
 
-# Acknowledgments
+# Acknowledgements
 
 Thanks to the Strudel and wider Tidal, live coding, WebAudio and free/open source software communities for inspiration and support. Alex McLean's work on this project is supported by a UKRI Future Leaders Fellowship [grant number MR/V025260/1].
 

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-<body>
-<div id="header">
-<h1 class="title">Strudel: live coding patterns on the Web</h1>
-<ul id="authorlist">
-<li>true</li>
-<li>true</li>
-</ul>
-<h3 class="date">2022-12-14</h3>
-</div>
-
-<h2 class="abstract">Abstract</h2>
-<div id="abstract">
-<p>This paper introduces Strudel, which brings the TidalCycles approach
-to live coding algorithmic patterns to native JavaScript and the web. We
-begin by giving a little background of the first year of development,
-before sharing some detail about its implementation and examples of use.
-We go on to outline the wide range of synthesis and other outputs
-available in Strudel, including WebAudio, MIDI, OSC (for SuperDirt),
-WebSerial and CSound, and introduce Strudel’s REPL live editor,
-including its built-in visualisations. We then compare Strudel with
-Tidal, the trade-offs involved between JavaScript and Haskell, and the
-unique capabilities offered by Strudel for aligning patterns.</p>
-</div>
-
-<h1 data-number="1" id="introduction"><span
-class="header-section-number">1</span> Introduction</h1>
-<p>In the following paper, we introduce <em>Strudel</em>, an alternative
-implementation of the TidalCycles (or ‘Tidal’ for short) live coding
-system, using the JavaScript programming language. Strudel is an attempt
-to make live coding more accessible, by creating a system that runs
-entirely in the browser, while opening Tidal’s approach to algorithmic
-patterns <span class="citation"
-data-cites="mcleanAlgorithmicPattern2020a">(Mclean 2020)</span> up to
-modern audio/visual web technologies. The Strudel REPL is a live code
-editor dedicated to manipulating patterns while they play, with builtin
-visual feedback. While Strudel is written in JavaScript, the API is
-optimized for simplicity and readability by applying code
-transformations on the syntax tree level, allowing language operations
-that would otherwise be impossible. The application supports multiple
-ways to output sound, including Tone.js, Web Audio Nodes, OSC (Open
-Sound Control) messages, Web Serial, Web MIDI and Csound. The project is
-split into multiple packages, allowing granular reuse in other
-applications. Apart from TidalCycles, Strudel draws inspiration from
-many prior existing projects like TidalVortex <span class="citation"
-data-cites="mcleanTidalVortexZero2022">(McLean et al. 2022)</span>,
-Gibber <span class="citation"
-data-cites="robertsGibberLiveCoding2012">(Roberts and Kuchera-morin
-2012)</span>, Estuary <span class="citation"
-data-cites="ogbornEstuaryBrowserbasedCollaborative2017">(Ogborn et al.
-2017)</span>, Hydra <span class="citation"
-data-cites="jackHydra2022">(Jack [2022] 2022)</span>, Ocarina <span
-class="citation" data-cites="solomonPurescriptocarina2022">(Solomon
-[2021] 2022)</span> and Feedforward <span class="citation"
-data-cites="mcleanFeedforward2020">(McLean 2020)</span>. This paper
-expands the Strudel Demo paper for the Web Audio Conference 2022 <span
-class="citation" data-cites="StrudelWAC2022">(Roos and McLean
-2022)</span>.</p>
-<p>The first tentative commit to the Strudel project was on 22nd January
-2022 by Alex McLean, with the core representation implemented over the
-following few days. Although this was his first attempt at a
-JavaScript-based application, by 27th January, Alex had managed to
-upload the initial version to the ‘npm’ javascript package database,
-sharing with the wider community for comment. By 4th February, Felix
-Roos had discovered Strudel and contributed a ‘REPL’ user interface to
-it, and then contributed a scheduler the next day, so that Strudel could
-already make sound. At this point, Alex and Felix shared ownership to
-the repository, and the project has since proved to be a productive
-confluence of Felix’s own work into music representation and
-visualisation, with Alex’s experience with making Tidal. Felix has since
-become the primary contributor to Strudel, with Alex continuing to jump
-between developing both Strudel and Tidal. Aspects of Strudel’s
-development have therefore fed back into TidalCycles, and both systems
-have maintained a shared conceptual underpinning. We plan to continue
-working towards feature parity between these systems, although within
-the syntactical trade-offs and library ecosystems of JavaScript and
-Haskell, some divergence is inevitable and healthy.</p>
-<p>Over the first year of its life, Strudel is now a fully-fledged live
-coding environment, porting Tidal’s core represention of patterns,
-pattern transformations, and mininotation for polymetric sequences,
-combined with a wealth of features for synthesising and visualising
-those patterns.</p>
-<h1 data-number="2" id="from-tidal-to-strudel-and-back"><span
-class="header-section-number">2</span> From Tidal to Strudel and
-back</h1>
-<p>As mentioned above, the original Tidal is implemented as a domain
-specific language (DSL) embedded in the Haskell pure functional
-programming language, and takes advantage of Haskell’s terse syntax and
-advanced, ‘strong’ type system. JavaScript on the other hand, is a
-multi-paradigm programming language, with a dynamic type system. Because
-Tidal leans heavily on many of Haskell’s more unique features, it was
-not always clear that it could meaningfully be ported to a
-multi-paradigm scripting language. However, this possibility was already
-demonstrated with an earlier port to Python [TidalVortex; <span
-class="citation" data-cites="mcleanTidalVortexZero2022">McLean et al.
-(2022)</span>], and we have now successfully implemented Tidal’s pure
-functional representation of patterns in Strudel, including partial
-application, currying, and the functor, applicative and monadic
-structures that underlie Tidal’s expressive pattern transformations. The
-result is a terse and highly composable system, where everything is
-either a pattern, or a function for combining and manipulating patterns,
-offering a rich creative ground for exploration.</p>
-<p>This development process has been far from a one-way port, however.
-The process of porting Tidal’s concepts has also opened up new
-possibilities, some just from revisiting every design decision, and some
-from the particular affordances and constraints offered by JavaScript.
-This has lead to new features (and indeed bugfixes) that have found
-their way back to Tidal where appropriate, and ongoing work that we will
-return to in the conclusion of this paper.</p>
-<h1 data-number="3" id="representing-patterns"><span
-class="header-section-number">3</span> Representing Patterns</h1>
-<p>Patterns are the essence of Tidal. Its patterns are abstract entities
-that represent flows of time as functions, adapting a technique called
-pure functional reactive programming. Taking a time span as its input, a
-Pattern can output a set of events that happen within that time span. It
-depends on the structure of the Pattern how the events are located in
-time. From now on, this process of generating events from a time span
-will be called <strong>querying</strong>. Example:</p>
-<div class="sourceCode" id="cb1"><pre class="sourceCode js"><code class="sourceCode javascript"><span id="cb1-1"><a href="#cb1-1" aria-hidden="true" tabindex="-1"></a><span class="kw">const</span> pattern <span class="op">=</span> <span class="fu">sequence</span>(c3<span class="op">,</span> [e3<span class="op">,</span> g3])</span>
-<span id="cb1-2"><a href="#cb1-2" aria-hidden="true" tabindex="-1"></a><span class="kw">const</span> events <span class="op">=</span> pattern<span class="op">.</span><span class="fu">queryArc</span>(<span class="dv">0</span><span class="op">,</span> <span class="dv">1</span>)</span>
-<span id="cb1-3"><a href="#cb1-3" aria-hidden="true" tabindex="-1"></a><span class="bu">console</span><span class="op">.</span><span class="fu">log</span>(events<span class="op">.</span><span class="fu">map</span>(e <span class="kw">=&gt;</span> e<span class="op">.</span><span class="fu">show</span>()))</span></code></pre></div>
-<p>In this example, we create a pattern using the <code>sequence</code>
-function and <strong>query</strong> it for the time span from
-<code>0</code> to <code>1</code>. Those numbers represent units of time
-called <strong>cycles</strong>. The length of one cycle depends on the
-tempo, which defaults to one cycle per second. The resulting events
-are:</p>
-<div class="sourceCode" id="cb2"><pre class="sourceCode js"><code class="sourceCode javascript"><span id="cb2-1"><a href="#cb2-1" aria-hidden="true" tabindex="-1"></a>[{ <span class="dt">value</span><span class="op">:</span> <span class="st">&#39;c3&#39;</span><span class="op">,</span> <span class="dt">begin</span><span class="op">:</span> <span class="dv">0</span><span class="op">,</span> <span class="dt">end</span><span class="op">:</span> <span class="dv">1</span><span class="op">/</span><span class="dv">2</span> }<span class="op">,</span></span>
-<span id="cb2-2"><a href="#cb2-2" aria-hidden="true" tabindex="-1"></a>{ <span class="dt">value</span><span class="op">:</span> <span class="st">&#39;e3&#39;</span><span class="op">,</span> <span class="dt">begin</span><span class="op">:</span> <span class="dv">1</span><span class="op">/</span><span class="dv">2</span><span class="op">,</span> <span class="dt">end</span><span class="op">:</span> <span class="dv">3</span><span class="op">/</span><span class="dv">4</span> }<span class="op">,</span></span>
-<span id="cb2-3"><a href="#cb2-3" aria-hidden="true" tabindex="-1"></a>{ <span class="dt">value</span><span class="op">:</span> <span class="st">&#39;g3&#39;</span><span class="op">,</span> <span class="dt">begin</span><span class="op">:</span> <span class="dv">3</span><span class="op">/</span><span class="dv">4</span><span class="op">,</span> <span class="dt">end</span><span class="op">:</span> <span class="dv">1</span> }]</span></code></pre></div>
-<p>Each event has a value, a begin time and an end time, where time is
-represented as a fraction. In the above case, the events are placed in
-sequential order, where c3 takes the first half, and e3 and g3 together
-take the second half. This temporal placement is the result of the
-<code>sequence</code> function, which divides its arguments equally over
-one cycle. If an argument is an array, the same rule applies to that
-part of the cycle. In the example, e3 and g3 are divided equally over
-the second half of the whole cycle.</p>
-<p>The above examples do not represent how Strudel is used in practice.
-In the live coding editor, the user only has to type in the pattern
-itself, the querying will be handled by the scheduler. The scheduler
-will repeatedly query the pattern for events, which are then scheduled
-as sound synthesis or other event triggers. Also, the above event data
-structure has been simplified for readability.</p>
-<figure>
-<img src="images/strudel-screenshot2.png" style="width:60.0%"
-alt="Screenshot of the Strudel ‘REPL’ live coding editor, including piano-roll visualisation." />
-<figcaption aria-hidden="true">Screenshot of the Strudel ‘REPL’ live
-coding editor, including piano-roll visualisation.</figcaption>
-</figure>
-<h1 data-number="4" id="making-patterns"><span
-class="header-section-number">4</span> Making Patterns</h1>
-<p>In practice, the end-user live coder will not deal with constructing
-patterns directly, but will rather build patterns using Strudel’s
-extensive combinator library to create, combine and transform
-patterns.</p>
-<p>The live coder will rarely use the <code>sequence</code> function as
-seen above, as sequencing is implicit in many functions. For example in
-the following, the <code>note</code> function constructs a pattern of
-notes, sequencing its arguments in the same manner as the previous
-example.</p>
-<div class="sourceCode" id="cb3"><pre class="sourceCode js"><code class="sourceCode javascript"><span id="cb3-1"><a href="#cb3-1" aria-hidden="true" tabindex="-1"></a><span class="fu">note</span>(c3<span class="op">,</span> [e3<span class="op">,</span> g3])</span></code></pre></div>
-<p>Perhaps more often, they will use the mini-notation for even terser
-notation of rhythmic sequences: [^This last example is also valid Tidal
-code, albeit the parenthesis is not required in its Haskell syntax in
-this case. Tidal does not support passing sequences as lists directly to
-the <code>note</code> function, however.].</p>
-<div class="sourceCode" id="cb4"><pre class="sourceCode js"><code class="sourceCode javascript"><span id="cb4-1"><a href="#cb4-1" aria-hidden="true" tabindex="-1"></a><span class="fu">note</span>(<span class="st">&quot;c3 [e3 g3]&quot;</span>)</span></code></pre></div>
-<p>Such sequences are often treated only a starting point for
-manipulation, where they then undergo pattern transformations such as
-repetition, symmetry, interference/combination or randomisation,
-potentially at multiple timescales. Because Strudel patterns are
-represented as pure functions of time rather than as data structures,
-very long and complex generative results can be represented and
-manipulated without having to store the resulting sequences in
-memory.</p>
-<h1 data-number="5" id="pattern-example"><span
-class="header-section-number">5</span> Pattern Example</h1>
-<p>The following example showcases how patterns can be utilized to
-create musical complexity from simple parts, using repetition and
-interference:</p>
-<div class="sourceCode" id="cb5"><pre class="sourceCode js"><code class="sourceCode javascript"><span id="cb5-1"><a href="#cb5-1" aria-hidden="true" tabindex="-1"></a><span class="st">&quot;&lt;0 2 [4 6](3,4,1) 3&gt;&quot;</span></span>
-<span id="cb5-2"><a href="#cb5-2" aria-hidden="true" tabindex="-1"></a><span class="op">.</span><span class="fu">off</span>(<span class="dv">1</span><span class="op">/</span><span class="dv">4</span><span class="op">,</span> <span class="fu">add</span>(<span class="dv">2</span>))</span>
-<span id="cb5-3"><a href="#cb5-3" aria-hidden="true" tabindex="-1"></a><span class="op">.</span><span class="fu">off</span>(<span class="dv">1</span><span class="op">/</span><span class="dv">2</span><span class="op">,</span> <span class="fu">add</span>(<span class="dv">6</span>))</span>
-<span id="cb5-4"><a href="#cb5-4" aria-hidden="true" tabindex="-1"></a><span class="op">.</span><span class="fu">scale</span>(<span class="st">&#39;D minor&#39;</span>)</span>
-<span id="cb5-5"><a href="#cb5-5" aria-hidden="true" tabindex="-1"></a><span class="op">.</span><span class="fu">legato</span>(<span class="op">.</span><span class="dv">25</span>)</span>
-<span id="cb5-6"><a href="#cb5-6" aria-hidden="true" tabindex="-1"></a><span class="op">.</span><span class="fu">note</span>()<span class="op">.</span><span class="fu">s</span>(<span class="st">&quot;sawtooth square&quot;</span>)</span>
-<span id="cb5-7"><a href="#cb5-7" aria-hidden="true" tabindex="-1"></a><span class="op">.</span><span class="fu">delay</span>(<span class="op">.</span><span class="dv">8</span>)<span class="op">.</span><span class="fu">delaytime</span>(<span class="op">.</span><span class="dv">125</span>)</span></code></pre></div>
-<p>The pattern starts with a rhythm of numbers in mini notation, which
-are later interpreted inside the scale of D minor. The first line could
-also be expressed without mini notation:</p>
-<div class="sourceCode" id="cb6"><pre class="sourceCode js"><code class="sourceCode javascript"><span id="cb6-1"><a href="#cb6-1" aria-hidden="true" tabindex="-1"></a><span class="fu">cat</span>(<span class="dv">0</span><span class="op">,</span> <span class="dv">2</span><span class="op">,</span> [<span class="dv">4</span><span class="op">,</span> <span class="dv">6</span>]<span class="op">.</span><span class="fu">euclid</span>(<span class="dv">3</span><span class="op">,</span> <span class="dv">4</span><span class="op">,</span> <span class="dv">1</span>)<span class="op">,</span> <span class="dv">3</span>)</span></code></pre></div>
-<p>These numbers then undergo various pattern transformations. Here is a
-short description of all the functions used:</p>
-<ul>
-<li><code>cat</code>: play elements sequentially, where each lasts one
-cycle</li>
-<li><code>brackets</code>: elements inside brackets are divided equally
-over the time of their parent</li>
-<li><code>.euclid(p, s, o)</code>: place p pulses evenly over s steps,
-with offset o <span class="citation"
-data-cites="toussaintEuclideanAlgorithmGenerates2005">(Toussaint
-2005)</span></li>
-<li><code>.off(n, f)</code>: layers a pattern on top of itself, with the
-new layer offset by n cycles, and with function f applied</li>
-<li><code>.legato(n)</code>: multiply the duration of all events in a
-pattern by a factor of n</li>
-<li><code>.echo(t, n, v)</code>: copy each event t times, with n cycles
-in between each copy, decreasing velocity by v</li>
-<li><code>.note()</code>: interpretes values as notes</li>
-<li><code>.s(name)</code>: play back each event with the given
-sound</li>
-<li><code>.delay(wet)</code>: add delay</li>
-<li><code>.delaytime(t)</code>: set delay time</li>
-</ul>
-<p>Much of the above will be familiar to Tidal users.</p>
-<!-- This example shows some of Strudel's unique support for chords and transposition familiar to students of Western music theory. This differs a little from Tidal's approach and thanks to the integration of the javascript library XXX (*TODO* ? or is this all your work Felix?), Strudel's support for tonal transformations such as voice leading is perhaps respects more advanced than Tidal. -->
-<h1 data-number="6" id="ways-to-make-sound-and-other-events"><span
-class="header-section-number">6</span> Ways to make Sound (and other
-events)</h1>
-<p>To generate sound, Strudel supports bindings for different
-outputs:</p>
-<ul>
-<li>Tone.js (deprecated)</li>
-<li>Web Audio API</li>
-<li>WebDirt, a js recreation of Tidal’s <em>Dirt</em> sample engine
-(deprecated)</li>
-<li>OSC via osc-js, compatible with superdirt</li>
-<li>Csound via the Csound WebAssembly build</li>
-<li>MIDI via WebMIDI</li>
-<li>Serial via WebSerial</li>
-</ul>
-<p>At first, we used Tone.js as sound output, but it proved to be
-limited for the use case of Strudel, where each individual event could
-potentially have a completely different audio graph. While the Web Audio
-API takes a <em>fire-and-forget</em> approach, creating a lot of Tone.js
-instruments and effects causes performance issues quickly. For that
-reason, we chose to search for alternatives.</p>
-<p>Strudel’s new default output uses the Web Audio API to create a new
-audio graph for each event. It currently supports basic oscillators,
-sample playback, various effects and an experimental support for
-soundfonts.</p>
-<p>WebDirt <span class="citation"
-data-cites="ogbornDktr0WebDirt2022">(Ogborn [2016] 2022)</span> was
-created as part of the Estuary Live Coding System <span class="citation"
-data-cites="ogbornEstuaryBrowserbasedCollaborative2017">(Ogborn et al.
-2017)</span>, and proved to be a solid choice for handling samples in
-Strudel as well. We are however focused on working more directly with
-the Web Audio API to be able to integrate new features more tightly.</p>
-<p>Using the OSC protocol via Strudel’s provided Node.js-based OSC proxy
-server, it is possible to send network messages to trigger events. This
-is mainly used to render sound using SuperDirt <span class="citation"
-data-cites="SuperDirt2022">(<em>SuperDirt</em> [2015] 2022)</span>,
-which is the well-developed Supercollider-based synthesis framework that
-Tidal live coders generally use as standard.</p>
-<p>Recently, the experimental integration of Csound proved to bring a
-new dimension of sound design capabilities to Strudel. Thanks to the
-WebAssembly distribution of this classic system <span class="citation"
-data-cites="CsoundWebAssembly">(Yi, Lazzarini, and Costello
-2018)</span>, Csound ‘orchestra’ synthesisers can be embedded in and
-then patterned with Strudel code.</p>
-<p>MIDI output can also be used to send MIDI messages to either external
-instruments or to other programs on the same device. Unlike OSC, Strudel
-is able to send MIDI directly without requiring additional proxy
-software, but only from web browsers that support it (at the time of
-writing, this means Chromium-based browsers).</p>
-<p>Finally, Strudel supports Serial output, for example to trigger
-events via microcontrollers. This has already been explored for robot
-choreography by Kate Sicchio and Alex McLean, via a performance
-presented at the International Conference on Live Interfaces 2022.</p>
-<h1 data-number="7" id="the-strudel-repl"><span
-class="header-section-number">7</span> The Strudel REPL</h1>
-<p>While Strudel can be used as a library in any JavaScript codebase,
-its main, reference user interface is the Strudel REPL[^REPL stands for
-read, evaluate, print/play, loop. It is friendly jargon for an
-interactive programming interface from computing heritage, usually for a
-commandline interface but also applied to live coding editors.], which
-is a browser-based live coding environment. This live code editor is
-dedicated to manipulating Strudel patterns while they play. The REPL
-features built-in visual feedback, which highlights which elements in
-the patterned (mini-notation) sequences are influencing the event that
-is currently being played. This feedback is designed to support both
-learning and live use of Strudel.</p>
-<p>Besides a UI for playback control and meta information, the main part
-of the REPL interface is the code editor powered by CodeMirror. In it,
-the user can edit and evaluate pattern code live, using one of the
-available synthesis outputs to create music and/or sound art. The
-control flow of the REPL follows 3 basic steps:</p>
-<ol type="1">
-<li>The user writes and updates code. Each update transpiles and
-evaluates it to create a <code>Pattern</code> instance</li>
-<li>While the REPL is running, the <code>Scheduler</code> queries the
-active <code>Pattern</code> by a regular interval, generating
-<code>Events</code> (also known as <code>Haps</code> in Strudel) for the
-next time span.</li>
-<li>For each scheduling tick, all generated <code>Events</code> are
-triggered by calling their <code>onTrigger</code> method, which is set
-by the output.</li>
-</ol>
-<figure>
-<img
-src="https://github.com/tidalcycles/strudel/raw/talk/talk/public/strudelflow.png?raw=true"
-style="width:43.0%" alt="REPL control flow" />
-<figcaption aria-hidden="true">REPL control flow</figcaption>
-</figure>
-<h2 data-number="7.1" id="user-code"><span
-class="header-section-number">7.1</span> User Code</h2>
-<p>To create a <code>Pattern</code> from the user code, two steps are
-needed:</p>
-<ol type="1">
-<li>Transpile the JS input code to make it functional</li>
-<li>Evaluate the transpiled code</li>
-</ol>
-<h3 data-number="7.1.1" id="transpilation-evaluation"><span
-class="header-section-number">7.1.1</span> Transpilation &amp;
-Evaluation</h3>
-<p>In the JavaScript world, using transpilation is a common practise to
-be able to use language features that are not supported by the base
-language. Tools like <code>babel</code> will transpile code that
-contains unsupported language features into a version of the code
-without those features.</p>
-<p>In the same tradition, Strudel can add a transpilation step to
-simplify the user code in the context of live coding. For example, the
-Strudel REPL lets the user create mini notation patterns using just
-double quoted strings, while single quoted strings remain what they
-are:</p>
-<div class="sourceCode" id="cb7"><pre class="sourceCode js"><code class="sourceCode javascript"><span id="cb7-1"><a href="#cb7-1" aria-hidden="true" tabindex="-1"></a><span class="st">&quot;c3 [e3 g3]*2&quot;</span></span></code></pre></div>
-<p>is transpiled to:</p>
-<div class="sourceCode" id="cb8"><pre class="sourceCode js"><code class="sourceCode javascript"><span id="cb8-1"><a href="#cb8-1" aria-hidden="true" tabindex="-1"></a><span class="fu">mini</span>(<span class="st">&quot;c3 [e3 g3]*2&quot;</span>)<span class="op">.</span><span class="fu">withMiniLocation</span>([<span class="dv">1</span><span class="op">,</span><span class="dv">0</span><span class="op">,</span><span class="dv">0</span>]<span class="op">,</span>[<span class="dv">1</span><span class="op">,</span><span class="dv">14</span><span class="op">,</span><span class="dv">14</span>])</span></code></pre></div>
-<p>Here, the string is wrapped in <code>mini</code>, which will create a
-pattern from a mini notation string. Additionally, the
-<code>withMiniLocation</code> method passes the original source code
-location of the string to the pattern, which enables highlighting active
-events.</p>
-<p>Other convenient features like pseudo variables, operator overloading
-and top level await are possible with transpilation.</p>
-<p>After the transpilation, the code is ready to be evaluated into a
-<code>Pattern</code>.</p>
-<p>Behind the scenes, the user code string is parsed with
-<code>acorn</code>, turning it into an Abstract Syntax Tree (AST). The
-AST allows changing the structure of the code before generating the
-transpiled version using <code>escodegen</code>.</p>
-<h3 data-number="7.1.2" id="mini-notation"><span
-class="header-section-number">7.1.2</span> Mini Notation</h3>
-<p>While the transpilation allows JavaScript to express Patterns in a
-less verbose way, it is still preferable to use the Mini Notation as a
-more compact way to express rhythm. Strudel aims to provide the same
-Mini Notation features and syntax as used in Tidal.</p>
-<p>The Mini Notation parser is implemented using <code>peggy</code>,
-which allows generating performant parsers for Domain Specific Languages
-(DSLs) using a concise grammar notation. The generated parser turns the
-Mini Notation string into an AST which is used to call the respective
-Strudel functions with the given structure. For example,
-<code>"c3 [e3 g3]*2"</code> will result in the following calls:</p>
-<div class="sourceCode" id="cb9"><pre class="sourceCode js"><code class="sourceCode javascript"><span id="cb9-1"><a href="#cb9-1" aria-hidden="true" tabindex="-1"></a><span class="fu">seq</span>(</span>
-<span id="cb9-2"><a href="#cb9-2" aria-hidden="true" tabindex="-1"></a>  <span class="fu">reify</span>(<span class="st">&#39;c3&#39;</span>)<span class="op">.</span><span class="fu">withLocation</span>([<span class="dv">1</span><span class="op">,</span><span class="dv">1</span><span class="op">,</span><span class="dv">1</span>]<span class="op">,</span> [<span class="dv">1</span><span class="op">,</span><span class="dv">4</span><span class="op">,</span><span class="dv">4</span>])<span class="op">,</span></span>
-<span id="cb9-3"><a href="#cb9-3" aria-hidden="true" tabindex="-1"></a>  <span class="fu">seq</span>(</span>
-<span id="cb9-4"><a href="#cb9-4" aria-hidden="true" tabindex="-1"></a>    <span class="fu">reify</span>(<span class="st">&#39;e3&#39;</span>)<span class="op">.</span><span class="fu">withLocation</span>([<span class="dv">1</span><span class="op">,</span><span class="dv">5</span><span class="op">,</span><span class="dv">5</span>]<span class="op">,</span> [<span class="dv">1</span><span class="op">,</span><span class="dv">8</span><span class="op">,</span><span class="dv">8</span>])<span class="op">,</span></span>
-<span id="cb9-5"><a href="#cb9-5" aria-hidden="true" tabindex="-1"></a>    <span class="fu">reify</span>(<span class="st">&#39;g3&#39;</span>)<span class="op">.</span><span class="fu">withLocation</span>([<span class="dv">1</span><span class="op">,</span><span class="dv">8</span><span class="op">,</span><span class="dv">8</span>]<span class="op">,</span> [<span class="dv">1</span><span class="op">,</span><span class="dv">10</span><span class="op">,</span><span class="dv">10</span>])<span class="op">,</span></span>
-<span id="cb9-6"><a href="#cb9-6" aria-hidden="true" tabindex="-1"></a>  )<span class="op">.</span><span class="fu">fast</span>(<span class="dv">2</span>)</span>
-<span id="cb9-7"><a href="#cb9-7" aria-hidden="true" tabindex="-1"></a>)</span></code></pre></div>
-<h3 data-number="7.1.3" id="highlighting-locations"><span
-class="header-section-number">7.1.3</span> Highlighting Locations</h3>
-<p>As seen in the examples above, both the JS and the Mini Notation
-parser add source code locations using <code>withMiniLocation</code> and
-<code>withLocation</code> methods. While the JS parser adds locations
-relative to the user code as a whole, the Mini Notation adds locations
-relative to the position of the mini notation string. The absolute
-location of elements within Mini Notation can be calculated by simply
-adding both locations together. This absolute location can be used to
-highlight active events in real time.</p>
-<h2 data-number="7.2" id="scheduling-events"><span
-class="header-section-number">7.2</span> Scheduling Events</h2>
-<p>After an instance of <code>Pattern</code> is obtained from the user
-code, it is used by the scheduler to get queried for events. Once
-started, the scheduler runs at a fixed interval to query active pattern
-for events withing the current interval’s time span. A simplified
-implementation looks like this:</p>
-<div class="sourceCode" id="cb10"><pre
-class="sourceCode js"><code class="sourceCode javascript"><span id="cb10-1"><a href="#cb10-1" aria-hidden="true" tabindex="-1"></a><span class="kw">let</span> pattern <span class="op">=</span> <span class="fu">seq</span>(<span class="st">&#39;c3&#39;</span><span class="op">,</span> [<span class="st">&#39;e3&#39;</span><span class="op">,</span> <span class="st">&#39;g3&#39;</span>])<span class="op">;</span> <span class="co">// pattern from user</span></span>
-<span id="cb10-2"><a href="#cb10-2" aria-hidden="true" tabindex="-1"></a><span class="kw">let</span> interval <span class="op">=</span> <span class="fl">0.5</span><span class="op">;</span> <span class="co">// query interval in seconds</span></span>
-<span id="cb10-3"><a href="#cb10-3" aria-hidden="true" tabindex="-1"></a><span class="kw">let</span> time <span class="op">=</span> <span class="dv">0</span><span class="op">;</span> <span class="co">// beginning of current time span</span></span>
-<span id="cb10-4"><a href="#cb10-4" aria-hidden="true" tabindex="-1"></a><span class="kw">let</span> minLatency <span class="op">=</span> <span class="op">.</span><span class="dv">1</span><span class="op">;</span> <span class="co">// min time before a hap should trigger</span></span>
-<span id="cb10-5"><a href="#cb10-5" aria-hidden="true" tabindex="-1"></a><span class="pp">setInterval</span>(() <span class="kw">=&gt;</span> {</span>
-<span id="cb10-6"><a href="#cb10-6" aria-hidden="true" tabindex="-1"></a>  <span class="kw">const</span> haps <span class="op">=</span> pattern<span class="op">.</span><span class="fu">queryArc</span>(time<span class="op">,</span> time <span class="op">+</span> interval)<span class="op">;</span></span>
-<span id="cb10-7"><a href="#cb10-7" aria-hidden="true" tabindex="-1"></a>  time <span class="op">+=</span> interval<span class="op">;</span> <span class="co">// increment time</span></span>
-<span id="cb10-8"><a href="#cb10-8" aria-hidden="true" tabindex="-1"></a>  haps<span class="op">.</span><span class="fu">forEach</span>((hap) <span class="kw">=&gt;</span> {</span>
-<span id="cb10-9"><a href="#cb10-9" aria-hidden="true" tabindex="-1"></a>    <span class="kw">const</span> deadline <span class="op">=</span> hap<span class="op">.</span><span class="at">whole</span><span class="op">.</span><span class="at">begin</span> <span class="op">-</span> time <span class="op">+</span> minLatency<span class="op">;</span></span>
-<span id="cb10-10"><a href="#cb10-10" aria-hidden="true" tabindex="-1"></a>    <span class="fu">onTrigger</span>(hap<span class="op">,</span> deadline<span class="op">,</span> duration)<span class="op">;</span></span>
-<span id="cb10-11"><a href="#cb10-11" aria-hidden="true" tabindex="-1"></a>  })<span class="op">;</span></span>
-<span id="cb10-12"><a href="#cb10-12" aria-hidden="true" tabindex="-1"></a>}<span class="op">,</span> interval <span class="op">*</span> <span class="dv">1000</span>)<span class="op">;</span> <span class="co">// query each &quot;interval&quot; seconds</span></span></code></pre></div>
-<p>Note that the above code is simplified for illustrative purposes. The
-actual implementation has to work around imprecise callbacks of
-<code>setInterval</code>. More about the implementation details can be
-read in <a
-href="https://loophole-letters.vercel.app/web-audio-scheduling">this
-blog post</a>.</p>
-<p>The fact that <code>Pattern.queryArc</code> is a pure function that
-maps a time span to a set of events allows us to choose any interval we
-like without changing the resulting output. It also means that when the
-pattern is changed from outside, the next scheduling callback will work
-with the new pattern, keeping its clock running.</p>
-<p>The latency between the time the pattern is evaluated and the change
-is heard is between <code>minLatency</code> and
-<code>interval + minLatency</code>, in our example between 100ms and
-600ms. In Strudel, the current query interval is 50ms with a minLatency
-of 100ms, meaning the latency is between 50ms and 150ms.</p>
-<h2 data-number="7.3" id="output"><span
-class="header-section-number">7.3</span> Output</h2>
-<p>The last step is to trigger each event in the chosen output. This is
-where the given time and value of each event is used to generate audio
-or any other form of time based output. The default output of the
-Strudel REPL is the WebAudio output. To understand what an output does,
-we first have to understand what control parameters are.</p>
-<h3 data-number="7.3.1" id="control-parameters"><span
-class="header-section-number">7.3.1</span> Control Parameters</h3>
-<p>To be able to manipulate multiple aspects of sound in parallel, so
-called control parameters are used to shape the value of each event.
-Example:</p>
-<div class="sourceCode" id="cb11"><pre
-class="sourceCode js"><code class="sourceCode javascript"><span id="cb11-1"><a href="#cb11-1" aria-hidden="true" tabindex="-1"></a><span class="fu">note</span>(<span class="st">&quot;c3 e3&quot;</span>)<span class="op">.</span><span class="fu">cutoff</span>(<span class="dv">1000</span>)<span class="op">.</span><span class="fu">s</span>(<span class="st">&#39;sawtooth&#39;</span>)</span>
-<span id="cb11-2"><a href="#cb11-2" aria-hidden="true" tabindex="-1"></a>  <span class="op">.</span><span class="fu">queryArc</span>(<span class="dv">0</span><span class="op">,</span> <span class="dv">1</span>)<span class="op">.</span><span class="fu">map</span>(hap <span class="kw">=&gt;</span> hap<span class="op">.</span><span class="at">value</span>)</span>
-<span id="cb11-3"><a href="#cb11-3" aria-hidden="true" tabindex="-1"></a><span class="co">/* [</span></span>
-<span id="cb11-4"><a href="#cb11-4" aria-hidden="true" tabindex="-1"></a><span class="co">  { note: &#39;c3&#39;, cutoff: 1000, s: &#39;sawtooth&#39; }</span></span>
-<span id="cb11-5"><a href="#cb11-5" aria-hidden="true" tabindex="-1"></a><span class="co">  { note: &#39;e3&#39;, cutoff: 1000, s: &#39;sawtooth&#39; }</span></span>
-<span id="cb11-6"><a href="#cb11-6" aria-hidden="true" tabindex="-1"></a><span class="co">] */</span></span></code></pre></div>
-<p>Here, the control parameter functions <code>note</code>,
-<code>cutoff</code> and <code>s</code> are used, where each controls a
-different property in the value object. Each control parameter function
-accepts a primitive value, a list of values to be sequenced into a
-<code>Pattern</code>, or a <code>Pattern</code>. In the example,
-<code>note</code> gets a <code>Pattern</code> from a Mini Notation
-expression (double quoted), while <code>cutoff</code> and <code>s</code>
-are given a <code>Number</code> and a (single quoted)
-<code>String</code> respectively.</p>
-<p>Strudel comes with a large default set of control parameter functions
-that are based on the ones used by Tidal and SuperDirt, focusing on
-music and audio terminology. It is however possible to create custom
-control paramters for any purpose:</p>
-<div class="sourceCode" id="cb12"><pre
-class="sourceCode js"><code class="sourceCode javascript"><span id="cb12-1"><a href="#cb12-1" aria-hidden="true" tabindex="-1"></a><span class="kw">const</span> { x<span class="op">,</span> y } <span class="op">=</span> <span class="fu">createParams</span>(<span class="st">&#39;x&#39;</span><span class="op">,</span> <span class="st">&#39;y&#39;</span>)</span>
-<span id="cb12-2"><a href="#cb12-2" aria-hidden="true" tabindex="-1"></a><span class="fu">x</span>(sine<span class="op">.</span><span class="fu">range</span>(<span class="dv">0</span><span class="op">,</span> <span class="dv">200</span>))<span class="op">.</span><span class="fu">y</span>(cosine<span class="op">.</span><span class="fu">range</span>(<span class="dv">0</span><span class="op">,</span><span class="dv">200</span>))</span></code></pre></div>
-<p>This example creates the custom control parameters <code>x</code> and
-<code>y</code> which are then used to form a pattern that descibes the
-coordinates of a circle.</p>
-<h3 data-number="7.3.2" id="outputs"><span
-class="header-section-number">7.3.2</span> Outputs</h3>
-<p>Now that we know how the value of an event is manipulated using
-control parameters, we can look at how outputs can use that value to
-generate anything. The scheduler above was calling the
-<code>onTrigger</code> function which is used to implement the output. A
-very simple version of the web audio output could look like this:</p>
-<div class="sourceCode" id="cb13"><pre
-class="sourceCode js"><code class="sourceCode javascript"><span id="cb13-1"><a href="#cb13-1" aria-hidden="true" tabindex="-1"></a><span class="kw">function</span> <span class="fu">onTrigger</span>(hap<span class="op">,</span> deadline<span class="op">,</span> duration) {</span>
-<span id="cb13-2"><a href="#cb13-2" aria-hidden="true" tabindex="-1"></a>  <span class="kw">const</span> { note } <span class="op">=</span> hap<span class="op">.</span><span class="at">value</span><span class="op">;</span></span>
-<span id="cb13-3"><a href="#cb13-3" aria-hidden="true" tabindex="-1"></a>  <span class="kw">const</span> time <span class="op">=</span> <span class="fu">getAudioContext</span>()<span class="op">.</span><span class="at">currentTime</span> <span class="op">+</span> deadline<span class="op">;</span></span>
-<span id="cb13-4"><a href="#cb13-4" aria-hidden="true" tabindex="-1"></a>  <span class="kw">const</span> o <span class="op">=</span> <span class="fu">getAudioContext</span>()<span class="op">.</span><span class="fu">createOscillator</span>()<span class="op">;</span></span>
-<span id="cb13-5"><a href="#cb13-5" aria-hidden="true" tabindex="-1"></a>  o<span class="op">.</span><span class="at">frequency</span><span class="op">.</span><span class="at">value</span> <span class="op">=</span> <span class="fu">getFreq</span>(note)<span class="op">;</span></span>
-<span id="cb13-6"><a href="#cb13-6" aria-hidden="true" tabindex="-1"></a>  o<span class="op">.</span><span class="fu">start</span>(time)<span class="op">;</span></span>
-<span id="cb13-7"><a href="#cb13-7" aria-hidden="true" tabindex="-1"></a>  o<span class="op">.</span><span class="fu">stop</span>(time <span class="op">+</span> <span class="bu">event</span><span class="op">.</span><span class="at">duration</span>)<span class="op">;</span></span>
-<span id="cb13-8"><a href="#cb13-8" aria-hidden="true" tabindex="-1"></a>  o<span class="op">.</span><span class="fu">connect</span>(<span class="fu">getAudioContext</span>()<span class="op">.</span><span class="at">destination</span>)<span class="op">;</span></span>
-<span id="cb13-9"><a href="#cb13-9" aria-hidden="true" tabindex="-1"></a>}</span></code></pre></div>
-<p>The above example will create an <code>OscillatorNode</code> for each
-event, where the frequency is controlled by the <code>note</code> param.
-In essence, this is how the WebAudio API output of Strudel works, only
-with many more parameters to control synths, samples and effects.</p>
-<h1 data-number="8" id="pattern-alignment-and-combination"><span
-class="header-section-number">8</span> Pattern alignment and
-combination</h1>
-<p>One core aspect of Strudel, inherited from Tidal, is the flexible way
-that patterns can be combined, irrespective of their structure. Its
-declarative approach means a live coder does not have to think about the
-details of <em>how</em> this is done, only <em>what</em> is to be
-done.</p>
-<p>As a simple example, consider two number patterns
-<code>"0 [1 2] 3"</code>, and <code>"10 20"</code>. The first has three
-contiguous steps of equal lengths, with the second step broken down into
-two substeps, giving four events in total. There are a very large number
-of ways in which the structure of these two patterns could be combined,
-but the default method in both Strudel and Tidal is to line up the
-cycles of the two patterns, and then take events from the first pattern
-and match them with those in the second pattern. Therefore, the
-following two lines are equivalent:</p>
-<div class="sourceCode" id="cb14"><pre
-class="sourceCode js"><code class="sourceCode javascript"><span id="cb14-1"><a href="#cb14-1" aria-hidden="true" tabindex="-1"></a><span class="st">&quot;0 [1 2] 3&quot;</span><span class="op">.</span><span class="fu">add</span>(<span class="st">&quot;10 20&quot;</span>)</span>
-<span id="cb14-2"><a href="#cb14-2" aria-hidden="true" tabindex="-1"></a><span class="st">&quot;10 [11 22] 23&quot;</span></span></code></pre></div>
-<p>Where the events only partially overlap, they are treated as
-fragments of the event in the first pattern. This is a little difficult
-to conceptualise, but lets start by comparing the two patterns in the
-following example:</p>
-<div class="sourceCode" id="cb15"><pre
-class="sourceCode js"><code class="sourceCode javascript"><span id="cb15-1"><a href="#cb15-1" aria-hidden="true" tabindex="-1"></a><span class="st">&quot;0 1 2&quot;</span><span class="op">.</span><span class="fu">add</span>(<span class="st">&quot;10 20&quot;</span>)</span>
-<span id="cb15-2"><a href="#cb15-2" aria-hidden="true" tabindex="-1"></a><span class="st">&quot;10 [11 21] 20&quot;</span></span></code></pre></div>
-<p>They are similar to the previous example in that the number
-<code>1</code> is split in two, with its two halves added to
-<code>10</code> and <code>20</code> respectively. However, the
-<code>11</code> ‘remembers’ that it is a fragment of that original
-<code>1</code> event, and so is treated as having a duration of a third
-of a cycle, despite only being active for a sixth of a cycle. Likewise,
-the <code>21</code> is also a fragment of that original <code>1</code>
-event, but a fragment of its second half. Because the start of its event
-is missing, it wouldn’t actually trigger a sound (unless it underwent
-further pattern transformations/combinations).</p>
-<p>In practice, the effect of this default, implicit method for
-combining two patterns is that the second pattern is added <em>in</em>
-to the first one, and indeed this can be made explicit:</p>
-<div class="sourceCode" id="cb16"><pre
-class="sourceCode js"><code class="sourceCode javascript"><span id="cb16-1"><a href="#cb16-1" aria-hidden="true" tabindex="-1"></a><span class="st">&quot;0 1 2&quot;</span><span class="op">.</span><span class="at">add</span><span class="op">.</span><span class="fu">in</span>(<span class="st">&quot;10 20&quot;</span>)</span></code></pre></div>
-<p>This makes way for other ways to align the pattern, and several are
-already defined, in particular:</p>
-<ul>
-<li><code>in</code> - as explained above, aligns cycles, and applies
-values from the pattern on the right <em>in</em> to the pattern on the
-left.</li>
-<li><code>out</code> - as with <code>in</code>, but values are applied
-<em>out</em> of the pattern on the left (i.e. <em>in</em> to the one on
-the right).</li>
-<li><code>mix</code> - structures from both patterns are combined, so
-that the new events are not fragments but are created at intersections
-of events from both sides.</li>
-<li><code>squeeze</code> - cycles from the pattern on the right are
-squeezed into events on the left. So that
-e.g. <code>"0 1 2".add.squeeze("10 20")</code> is equivalent to
-<code>"[10 20] [11 21] [12 22]"</code>.</li>
-<li><code>squeezeout</code> - as with <code>squeeze</code>, but cycles
-from the left are squeezed into events on the right. So,
-<code>"0 1 2".add.squeezeout("10 20")</code> is equivalent to
-<code>[10 11 12] [20 21 22]</code>.</li>
-<li><code>trig</code> is similar to <code>squeezeout</code> in that
-cycles from the right are aligned with events on the left. However those
-cycles are not ‘squeezed’, rather they are truncated to fit the event.
-So <code>"0 1 2 3 4 5 6 7".add.trig("10 [20 30]")</code> would be
-equivalent to <code>10 11 12 13 20 21 30 31</code>. In effect, events on
-the right ‘trigger’ cycles on the left.</li>
-<li><code>trigzero</code> is similar to <code>trig</code>, but the
-pattern is ‘triggered’ from its very first cycle, rather than from the
-current cycle. <code>trig</code> and <code>trigzero</code> therefore
-only give different results where the leftmost pattern differs from one
-cycle to the next.</li>
-</ul>
-<p>We will save going deeper into the background, design and
-practicalities of these alignment functions for future publications.
-However in the next section, we take them as a case study for looking at
-the different design affordances offered by Haskell to Tidal, and
-JavaScript to Strudel.</p>
-<h1 data-number="9" id="comparing-strudel-and-haskell-in-use"><span
-class="header-section-number">9</span> Comparing Strudel and Haskell in
-use</h1>
-<p>Unlike Haskell, JavaScript lacks the ability to define custom infix
-operators, or change the meaning of existing ones. So the above Strudel
-example of <code>"0 1 2".add.out("10 20")</code> is equivalent to the
-Tidal expression <code>"0 1 2" +| "10 20"</code>, where the vertical bar
-in the operator <code>+|</code> stands for <code>out</code> (where
-<code>a |+ b</code> would be equivalent of
-<code>a.add.in(b)</code>).</p>
-<p>From this we can already see that Tidal tends towards brevity through
-mixing infix operators with functions, and Strudel tends towards
-spelling out operations which are joined together with the
-<code>.</code> operator. This then is the design trade-off of Tidal’s
-tersity, versus Strudel’s simplicity.</p>
-<p>To demonstrate this, consider the following Tidal pattern:</p>
-<pre class="tidal"><code>iter 4 $ every 3 (||+ n &quot;10 20&quot;) $ (n &quot;0 1 3&quot;) # s &quot;triangle&quot; # crush 4</code></pre>
-<p>This can be directly translated to the Strudel equivalent:</p>
-<div class="sourceCode" id="cb18"><pre
-class="sourceCode js"><code class="sourceCode javascript"><span id="cb18-1"><a href="#cb18-1" aria-hidden="true" tabindex="-1"></a><span class="fu">iter</span>(<span class="dv">4</span><span class="op">,</span> <span class="fu">every</span>(<span class="dv">3</span><span class="op">,</span> add<span class="op">.</span><span class="fu">squeeze</span>(<span class="st">&quot;10 20&quot;</span>)<span class="op">,</span> <span class="fu">n</span>(<span class="st">&quot;0 1 3&quot;</span>)<span class="op">.</span><span class="fu">s</span>(<span class="st">&quot;triangle&quot;</span>)<span class="op">.</span><span class="fu">crush</span>(<span class="dv">4</span>)))</span></code></pre></div>
-<p>Although for a more canonical Strudel expression, we would reorder it
-as:</p>
-<div class="sourceCode" id="cb19"><pre
-class="sourceCode js"><code class="sourceCode javascript"><span id="cb19-1"><a href="#cb19-1" aria-hidden="true" tabindex="-1"></a><span class="fu">n</span>(<span class="st">&quot;0 1 3&quot;</span>)<span class="op">.</span><span class="fu">every</span>(<span class="dv">3</span><span class="op">,</span> add<span class="op">.</span><span class="fu">squeeze</span>(<span class="st">&quot;10 20&quot;</span>))<span class="op">.</span><span class="fu">iter</span>(<span class="dv">4</span>)<span class="op">.</span><span class="fu">s</span>(<span class="st">&quot;triangle&quot;</span>)<span class="op">.</span><span class="fu">crush</span>(<span class="dv">4</span>)</span></code></pre></div>
-<p>The Strudel example uses the <code>.</code> method call operator for
-all operations and combinations, whereas the Tidal example has
-<code>#</code> for the default method for combining patterns and uses
-infix operators for other methods. The lack of parenthesis in the Tidal
-example is partly due to the way that arguments are applied to Haskell’s
-functions, and partly due to the use of the <code>$</code> operator as
-an alternative way to establish precedence and control the order of
-evaluation.</p>
-<p>Considering the above, we argue that the Haskell syntax is a little
-cleaner, but that the Strudel syntax is easier to learn. Our informal
-observation is that while Haskell’s dollar <code>$</code> operator is
-very useful in making code easier to work with, it is one of the most
-difficult aspects of Tidal use for beginners to learn. On the other
-hand, the deeper levels of parenthesis in Strudel code can be difficult
-to keep track of, especially while coding under pressure of live musical
-performance. However this difficulty can be largely be mitigated by
-reordering expressions, and further mitigated by supporting editor
-features.</p>
-<p>With Strudel, we have little choice but to embrace the affordances
-and constraints offered by JavaScript, and while designing a
-domain-specific language entirely based on method calls is a challenge,
-through creative adoption of functional programming techniques like
-partial application, we are so far very happy with the results. Tidal’s
-functional reactive approach to pattern-making has in general translated
-well to JavaScript, and opportunities and constraints have overall
-traded off to create a very approachable and useable live coding
-environment.</p>
-<h2 data-number="9.1" id="the-trade-off-of-flexible-typing"><span
-class="header-section-number">9.1</span> The trade-off of flexible
-typing</h2>
-<p>We have identified one problem with porting Tidal to JavaScript where
-we have missed Haskell’s strict typing and type inference. In both Tidal
-and Strudel, time is rational, where any point in time is represented as
-the ratio of two integers. This allows representation of musical ratios
-such that are impossible to represent accurately using the more common
-floating point numbers. However while libraries are available that
-support rational numbers in JavaScript, the lack of strict typing means
-that it is easy to implement pattern methods where computationally
-expensive conversion from floating point to rational numbers are
-performed late, and therefore often enough to overload the CPUs, due to
-the large number of iterative calculations required to estimate a ratio
-for a given floating point number. To mitigate this problem, we might
-consider moving to TypeScript in the future.</p>
-<h1 data-number="10" id="future-outlook"><span
-class="header-section-number">10</span> Future Outlook</h1>
-<p>The project is still young, with many features on the horizon. As
-general guiding principles, Strudel aims to be</p>
-<ol type="1">
-<li>accessible</li>
-<li>consistent with Tidal’s approach to pattern</li>
-<li>modular and extensible</li>
-</ol>
-<p>While Haskell’s type system makes it a great language for the ongoing
-development of Tidal’s inner representation of pattern, JavaScript’s
-vibrant ecosystem, flexibility and accessibility makes it a great host
-for more ad-hoc experiments, including interface design. For the future,
-it is planned to integrate additional alternative sound engines such as
-Glicol <span class="citation" data-cites="lanChaosprintGlicol2022">(Lan
-[2020] 2022)</span> and Faust <span class="citation"
-data-cites="FaustProgrammingLanguage2022">(<em>Faust - Programming
-Language for Audio Applications and Plugins</em> [2016] 2022)</span>.
-Strudel is already approaching feature parity with Tidal, but there are
-more Tidal functions to be ported, and work to be done to improve
-compatibility with Tidal’s mininotation. Tidal version 2.0 is under
-development, which brings a new representation for sequences to its
-patterns, which will then be brought to Strudel. Besides sound, other
-ways to render events are being explored, such as graphical, and
-choreographic output. We are also looking into alternative ways of
-editing patterns, including multi-user editing for network music,
-parsing a novel syntax to escape the constraints of javascript, and
-developing hardware/e-textile interfaces. In summary, there is a lot of
-fun ahead.</p>
-<h1 data-number="11" id="links"><span
-class="header-section-number">11</span> Links</h1>
-<p>The Strudel REPL is available at <a
-href="https://strudel.tidalcycles.org"
-class="uri">https://strudel.tidalcycles.org</a>, including an
-interactive tutorial. The repository is at <a
-href="https://github.com/tidalcycles/strudel"
-class="uri">https://github.com/tidalcycles/strudel</a>, all the code is
-open source under the AGPL-3.0 License.</p>
-<h1 data-number="12" id="acknowledgments"><span
-class="header-section-number">12</span> Acknowledgments</h1>
-<p>Thanks to the Strudel and wider Tidal, live coding, WebAudio and
-free/open source software communities for inspiration and support. Alex
-McLean’s work on this project is supported by a UKRI Future Leaders
-Fellowship [grant number MR/V025260/1].</p>
-<h1 class="unnumbered" id="references">References</h1>
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-</div>
-</body>
-</html>