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

2. 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

3. 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

4. 31‘250 Bits per second ~ 1 MegaBit/32 per second (5mA) ~ 32 sec/Bit
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

5. MIDI Specification: http://www.midi.org
Expression
Signification
MIDI Specification:
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

6. 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

7. MIDI Message Hierarchy
System
single musicians
all musicians
the entire system

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

9. 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)

10. 1991
Here, we illustrate the theory on the jazz CD „Synthesis“ which I recorded in 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.

11. Here, we illustrate the theory on the jazz CD „Synthesis“ which I recorded in 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.

12. 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

13. presto http://tamw.atari-users.net/presto.htm
Here, we illustrate the theory on the jazz CD „Synthesis“ which I recorded in 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.

14. classification of 3-element motives M Í Ÿ1224 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.

15. 10 as in above list 10 10 4th Movement horizontal arpeggio
vertical arpeggio 10

16. 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!

17. o
0 ->

18. presto® http://tamw.atari-users.net/presto.htm
Here, we illustrate the theory on the jazz CD „Synthesis“ which I recorded in 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.

19. Here, we illustrate the theory on the jazz CD „Synthesis“ which I recorded in 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.

21. mamma
curva 1
curva 2
curvetta 4
curvetta 3

22. Chopin: Impromptu op. 29 tr

23. 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)

24. 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

25. RUBATO® L L S
Os X

26. 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.

27. Antony Braxton‘s For 4 Orchestras

28. Tod Machover‘s Brain Opera

29. 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“

30. Stephan Wolfram‘s Ringtones

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