III Symbolic Reality III.1 (We Oct 28) Software/Technology Classification and MIDI

sound gestures score Software/Technology Typology instrumentalize thaw poiesis       aesthesis poiesis       aesthesis gestures l h e sound instrumentalize thaw perform More precisely, performance is a transformation P from the symbolic reality of the score to the physical reality of sounds (a quarter note is not determined in its physical duration, only the metronome yields the relation between symbolic reality and physical reality). The mathematical analysis of tempo and pitch transformations shows that the performance transformation P can be described by a performance vector field, as shown to the left in the symbolic parameter space. Essentially, performance is calculated via integration of such performance vector fields, much as the time is calculated via integration of the tempo curve. In this language, performance operators are built in order to produce new performance fields from the old ones inherited from the relative mothers. score poiesis       aesthesis

instrumental- interface MIDI = MusicalInstrumentDigitalInterface gestures l h e sound events instrumental- interface instrumentalize „thaw“  More precisely, performance is a transformation P from the symbolic reality of the score to the physical reality of sounds (a quarter note is not determined in its physical duration, only the metronome yields the relation between symbolic reality and physical reality). The mathematical analysis of tempo and pitch transformations shows that the performance transformation P can be described by a performance vector field, as shown to the left in the symbolic parameter space. Essentially, performance is calculated via integration of such performance vector fields, much as the time is calculated via integration of the tempo curve. In this language, performance operators are built in order to produce new performance fields from the old ones inherited from the relative mothers. Standard MIDI file score

31‘250 Bits per second ~ 1 MegaBit/32 per second (5mA) ~ 32 sec/Bit 111010010111001000100011101010000110.... IN THRU OUT three port types More precisely, performance is a transformation P from the symbolic reality of the score to the physical reality of sounds (a quarter note is not determined in its physical duration, only the metronome yields the relation between symbolic reality and physical reality). The mathematical analysis of tempo and pitch transformations shows that the performance transformation P can be described by a performance vector field, as shown to the left in the symbolic parameter space. Essentially, performance is calculated via integration of such performance vector fields, much as the time is calculated via integration of the tempo curve. In this language, performance operators are built in order to produce new performance fields from the old ones inherited from the relative mothers. (NAMM) National Association of Music Merchants convention 1983

MIDI Specification: http://www.midi.org Expression 111010010111001000100011101010000110.... Signification MIDI Specification: http://www.midi.org More precisely, performance is a transformation P from the symbolic reality of the score to the physical reality of sounds (a quarter note is not determined in its physical duration, only the metronome yields the relation between symbolic reality and physical reality). The mathematical analysis of tempo and pitch transformations shows that the performance transformation P can be described by a performance vector field, as shown to the left in the symbolic parameter space. Essentially, performance is calculated via integration of such performance vector fields, much as the time is calculated via integration of the tempo curve. In this language, performance operators are built in order to produce new performance fields from the old ones inherited from the relative mothers. Content Message Hierarchy

MIDI Message Syntax What? Who? How? 10 Bit Words: 320 sec/word Statusbyte 1st Databyte 2nd Databyte Stastusbit Databit Note-On Message Channel (5) Note Number (60) Velocity (61) 10 Bit Words: 320 sec/word Startbit = 0 Stoptbit = 0

MIDI Message Hierarchy System single musicians all musicians the entire system

MIDI Channel Voice Statusbyte Databyte Message Description Statusbyte 1st Databyte 2nd Databyte Stastusbit Databit Note-On Message Channel (5) Note Number (60) Velocity (61)

Standard MIDI File ............................ Statusbyte Delta Time in Ticks = 480 per quarter note ............................ Off of first note and On of second note Statusbyte 1st Databyte 2nd Databyte Stastusbit Databit Note-On Message Channel (5) Note Number (60) Velocity (61)

1991 Here, we illustrate the theory on the jazz CD „Synthesis“ which I recorded in 1990. Its entire structure, in harmony, in rhythmics, and in melodics, was deduced and constructed by use of the composition software presto® (written for Atari computers, but now also working on Atari emulations on Mac OS X), and starting from the 26 classes of three-element motives. This composition (a grant from the cultural department of the city of Zurich) was not recognized as a computer-generated music by the jazz critics. Only the piano part was played by myself, the entire bass and percussion part was played by synthesizers, driven by the presto® application via MIDI messages. During the production of this composition (Synthesis is a four-part, 45-minute piece), I never felt inhibited in my piano playing, in the contrary, it was a great pleasure to collaborate with complex structures of rhythm or melody, objects of a complexity that human percussionists would never be able to play from a score.

Here, we illustrate the theory on the jazz CD „Synthesis“ which I recorded in 1990. Its entire structure, in harmony, in rhythmics, and in melodics, was deduced and constructed by use of the composition software presto® (written for Atari computers, but now also working on Atari emulations on Mac OS X), and starting from the 26 classes of three-element motives. This composition (a grant from the cultural department of the city of Zurich) was not recognized as a computer-generated music by the jazz critics. Only the piano part was played by myself, the entire bass and percussion part was played by synthesizers, driven by the presto® application via MIDI messages. During the production of this composition (Synthesis is a four-part, 45-minute piece), I never felt inhibited in my piano playing, in the contrary, it was a great pleasure to collaborate with complex structures of rhythm or melody, objects of a complexity that human percussionists would never be able to play from a score.

Poetical Production via Baudelaire 3rd Movement Melodic Germ 26 Motif Classes Poetical Production via Baudelaire 3rd Movement CORRESPONDENCE GLUING SYMMETRIES Melodic Germ Rhythms and Their Modulations 1st Movement SELECTION REFLECTIONS ORNAMENTS Variations via Messiaen Grids 2nd Movement DECOMPOSITION ALTERATIONS ORNAMENTS Fractal Refinement 4th Movement SELECTION DILATATION ORNAMENTS REFINEMENT Bass Licks All Movements SELECTION SYMMETRIES

presto http://tamw.atari-users.net/presto.htm Here, we illustrate the theory on the jazz CD „Synthesis“ which I recorded in 1990. Its entire structure, in harmony, in rhythmics, and in melodics, was deduced and constructed by use of the composition software presto® (written for Atari computers, but now also working on Atari emulations on Mac OS X), and starting from the 26 classes of three-element motives. This composition (a grant from the cultural department of the city of Zurich) was not recognized as a computer-generated music by the jazz critics. Only the piano part was played by myself, the entire bass and percussion part was played by synthesizers, driven by the presto® application via MIDI messages. During the production of this composition (Synthesis is a four-part, 45-minute piece), I never felt inhibited in my piano playing, in the contrary, it was a great pleasure to collaborate with complex structures of rhythm or melody, objects of a complexity that human percussionists would never be able to play from a score. http://tamw.atari-users.net/presto.htm

classification of 3-element motives M Í Ÿ122 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 The classification of all possible concept types and the instances within one fiexed type is a ‚wild‘ problem. Let us just look at all isomorphism types of three-element motives with pitch modulo 12 and onset modulo 12 in the integer valued coordinate spaces. Here, isomorphism means that one is allowed to reflect, shift or rotate a given motive. The ‚orbits‘ of these isomorphism actions are the classes, there are 26 of them. I shall come back to this example below when discussing a jazz CD.

10 as in above list 10 10 4th Movement horizontal arpeggio vertical arpeggio 10

Combien faut-il de fois secouer mes grelots 3rd Movement Charles Baudelaire Les fleurs du mal (1861) LA MORT DES ARTISTES Combien faut-il de fois secouer mes grelots Et baiser ton front bas, morne caricature? Pour piquer dans le but, de mystique nature, Combien, ô mon carquois, perdre de javelots? Nous userons notre âme en de subtils complots, Et nous démolirons mainte lourde armature, Avant de contempler la grande Créature Dont l’infernal désir nous remplit de sanglots! 26 letters 26 3-tone motivess take percussive motives now!

o 0 ->

presto® http://tamw.atari-users.net/presto.htm Here, we illustrate the theory on the jazz CD „Synthesis“ which I recorded in 1990. Its entire structure, in harmony, in rhythmics, and in melodics, was deduced and constructed by use of the composition software presto® (written for Atari computers, but now also working on Atari emulations on Mac OS X), and starting from the 26 classes of three-element motives. This composition (a grant from the cultural department of the city of Zurich) was not recognized as a computer-generated music by the jazz critics. Only the piano part was played by myself, the entire bass and percussion part was played by synthesizers, driven by the presto® application via MIDI messages. During the production of this composition (Synthesis is a four-part, 45-minute piece), I never felt inhibited in my piano playing, in the contrary, it was a great pleasure to collaborate with complex structures of rhythm or melody, objects of a complexity that human percussionists would never be able to play from a score.

Here, we illustrate the theory on the jazz CD „Synthesis“ which I recorded in 1990. Its entire structure, in harmony, in rhythmics, and in melodics, was deduced and constructed by use of the composition software presto® (written for Atari computers, but now also working on Atari emulations on Mac OS X), and starting from the 26 classes of three-element motives. This composition (a grant from the cultural department of the city of Zurich) was not recognized as a computer-generated music by the jazz critics. Only the piano part was played by myself, the entire bass and percussion part was played by synthesizers, driven by the presto® application via MIDI messages. During the production of this composition (Synthesis is a four-part, 45-minute piece), I never felt inhibited in my piano playing, in the contrary, it was a great pleasure to collaborate with complex structures of rhythm or melody, objects of a complexity that human percussionists would never be able to play from a score.

mamma curva 1 curva 2 curvetta 4 curvetta 3

Chopin: Impromptu op. 29 tr

Schumann‘s Von fremden Ländern und Menschen (Kinderszene Nr Schumann‘s Von fremden Ländern und Menschen (Kinderszene Nr. 1) Mazzola‘s Mystery Child (in the Immaculate Concept CD)

RUBATO performance software 1992 – present Florian Thalmann has made his PhD thesis on this SW w(Onset,Pitch,…) w(E,H,…) The typology of performance operators is still under development. Clearly, emotional and gestural operators are too difficult to be implemented on computers at present, We have started with the implementation of operators which rely on musical analyses, such as they are produced by analytical Rubettes (see above). Typically, the output of an analytical Rubette is a numerical weight function on a number of musical parameters, representing the importance of a score event for the specific analysis. Pitch Onset

RUBATO® L L S Os X

Two applications of the RUBATO performance software: Schumann‘s Träumerei (Kinderszene Nr. 7) with melodic weights, which act as deformation of pitch. Contrapunctus III in Bach‘s Kunst der Fuge, melodic and metrical weights act on tempo, articulation, and dynamics, by Joachim Stange-Elbe‘s Habilitation University of Osnabrück, 2000 We present two examples of music which is produced using the performance routines and analytical weights. The first example is an exotic application of an analysis to changing pitch in Schumann‘s Träumerei. The second one is more traditional and shows a high quality performance of the Contarpunctus III in Bach‘s Kunst der Fuge.

Antony Braxton‘s For 4 Orchestras

Tod Machover‘s Brain Opera http://park.org/Events/BrainOpera/project-overview.html

Malleable Mobile Music iPod Malleable Mobile Music control of mood and emotions delimitation of external sound personal soundtrack for culture soundtrack for movie of the city remedy against isolation and loneliness control of inner chaos control of interaction with others, „non-gaze“ for women time control energy source through music Atau Tanaka von Sony CSL in Paris (also Ali Momeni from UofM): „...to establish musical identity of an individual with a community...“ „the internet is an instrument“

Stephan Wolfram‘s Ringtones http://tones.wolfram.com

Intercultural Morphing R. Schumann Scenes from Childhood 1. Of Foreign Lands and Peoples