# WAI Extension: Score (Music as Instructions)

> Status: Draft. Phase 6 — the deepest audio lever. Ship the
> composition, not the recording: a score of note events the sink
> synthesizes. Conformance is **mixdown-equivalence**, the music
> counterpart of spatial audio. Reference impl: the `score` feature of
> `wai-rs`; corpus: `score-conformance/`; live sink:
> wai.transaction.science/score.
Keywords **MUST**, **MUST NOT**, **SHOULD**, **MAY** are RFC 2119/8174.

## 1. Scope and model

A `wai.audio.score` object carries **no recorded audio** — only note
events. Where `wai.audio.scene` mixes recorded sound *objects*, a score
is reconstructed from instructions: a deterministic reference synth
turns the notes into a canonical PCM mixdown, and a sink with a richer
instrument (soundfont, neural) renders the same score for presentation.
It is lever 3 (instructions-at-the-sink) for music — a minute of music
is kilobytes of notes, not megabytes of samples.

In scope: the container, the note model, the deterministic reference
synthesis, the **mixdown-equivalence** conformance criterion, the
receipt profile. Out of scope: a transport; the sink's instrument
(soundfonts, neural synths — presentation, not conformance); MIDI-file
import (an authoring concern).

Relationship to the core spec: mirrors spatial audio. The reconstruct
runs in the `wai.det.fixed64` floor; `media` takes the value `"audio"`;
`wai.audio.score` is authoritative.

## 2. Container (`WSCR`)

```
"WSCR" | u16 n_sections | section table (u8 kind, u32 off, u32 len) | sections
```

| kind | section | required |
|---|---|---|
| `0x01` | contract (canonical JSON) | REQUIRED |
| `0x02` | note events | REQUIRED |

### 2.1 Contract

```json
{ "channels": 1, "duration": 34000, "numeric": "wai.det.fixed64",
  "sample_rate": 22050 }
```

`duration` is the rendered mixdown length in samples.

**Reader limit.** A reader MUST NOT refuse a score for its length while `duration ×
channels` is at most 134 217 728 (2²⁷, the audio limit of SPEC §2), and MAY refuse one
past it (`duration_too_long`), when it reads the contract, before it renders anything.
A conforming encoder writes no score past it.

### 2.2 Notes

`n_notes u32`, then per note (65 bytes):
`start u64 | dur u64 | phase_inc i64 Fx | gain i64 Fx | waveform u8 |
attack u64 | decay u64 | sustain i64 Fx | release u64`.

`phase_inc` is the per-sample phase advance `freq / sample_rate`,
authored off-line from the pitch — so the floor never evaluates an
exponential to turn a note into a frequency (the same authoring
discipline as the avatar quaternion). `waveform` selects a reference
timbre: `0` saw, `1` square, `2` triangle, `3` 25%-pulse.

### 2.3 Authoring form (informative)

`wai score build` writes a `WSCR` from a JSON document that holds every
field as an integer, so the committed document is the definition and no
platform's floating-point `pow` can change a pitch:

```json
{ "sample_rate": 22050, "channels": 1, "duration": 34000,
  "numeric": "wai.det.fixed64",
  "notes": [ { "start": 0, "dur": 3500, "phase_inc": 50960238,
               "gain": 1717986918, "waveform": 0, "attack": 220,
               "decay": 600, "sustain": 2791728742, "release": 1500 } ] }
```

`phase_inc`, `gain` and `sustain` are the raw Q32.32 bits. `numeric` may
be left out. The tool refuses a number with a fraction or an exponent, a
member it does not name, a member given twice (readers differ on which of
the two values they keep), more than one channel, a `phase_inc` of a whole
cycle or more, a `gain` or `sustain` above 1.0, a waveform above 3, and a
note whose release would end after `duration`, so the mixdown always
holds every note whole. `score-conformance/notes/` holds each vector in
this form, and `wai score build` turns it back into the committed `WSCR`
byte for byte.

## 3. Reference synthesis (trig-free)

For each note, a phase accumulator advances by `phase_inc` each sample
(wrapping at `1.0`); a **piecewise-linear** oscillator maps the phase to
`[-1, 1]` (no trig); a **linear ADSR** envelope (attack ramp → decay to
`sustain` → held until `dur` → release to zero over `release`) scales
it; the result times `gain` accumulates into the mixdown buffer. Each
output sample is quantized to `i16` (`round(v · 32767)`, half away from
zero, clamped) in integer space. The whole path is `+ − × ÷` in the
`Fx` floor — bit-identical on every machine.

## 4. Conformance — mixdown-equivalence

> Given the same `wai.audio.score`, a conforming sink MUST reconstruct
> the identical canonical `i16` PCM via the reference synth, hence the
> identical BLAKE3 — on every machine, no tolerance parameter.

```
mixdown_hash = BLAKE3("wai:score-mixdown\x01" || i16le PCM)
score_hash   = BLAKE3("wai:score\x01" || contract || notes)   // identity
```

A conformance vector also states `pcm_sha256`, the SHA-256 of the same
`i16le` PCM (the audio buffer of SPEC §7 *Digests*), so a verifier that
holds only SHA-256 checks the samples. `wai score render` prints both
and, with `--pcm`, writes the samples.

A sink MAY play a soundfont/neural instrument instead; that is
presentation and does not affect conformance, exactly as the audio-scene
HRTF render or the worlds renderer does not.

## 5. Receipt (JWP profile)

`score_hash` is the identity; the group's objects are the mix PCM blocks
(per a fixed sample span), Merkle-bound; one Ed25519 signature (verified as
SPEC §7 *Signatures* requires) over score_hash + root + exact work (= duration × notes) + carried
`joules_micro`; `parent_receipt_hash` chains — the worlds/audio receipt
shape reused. The figure's acquisition class rides beside it as an optional signed label
([energy-measurement](energy-measurement.md) §2.8): absent, the receipt keeps
its legacy bytes and the figure is unlabelled; present, it is inside the
signature. The reference meter labels every figure it measures
`OnChipCounter`, with its declared uncertainty.

## Appendix

Mixdown-equivalence is spatial audio's criterion with the recorded
objects replaced by note events: both render a deterministic `i16` mix
in the `Fx` floor and hash it. The score is the most extreme
instructions-at-the-sink case in audio — there is no recording anywhere
in the payload, only the composition. Sight, hearing, touch, motion,
state, captured-content provenance — and now the composition itself —
are one floor, one verification.