7 Philippe Manoury's Jupiter1

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154 • Andrew May Fig. 7.2 Sequence within qlist (from subsection III-F, cue 66). (DVD reference 1) Time delays within the qlist allow the computer to generate rhythmic activity (RA), increasing its temporal independence. An integer preceding a message causes the computer to wait that number of milliseconds before executing the message. Th is allows for a sequence to be programmed into the qlist itself, as shown in Figure 7.2. Th e messages in Figure 7.2 are received by additive synthesizer (“addsyn”) and sampler (“addsamp”) modules in the patch. Th e sampler doubles the synthesizer, adding timbral depth to the beginning of each note before fading away. Six pairs of synthesizer and sampler note messages are sent at 100 millisecond intervals—one pair immediately, then fi ve pairs in delayed succession. As the last note is played, fi ve other notes already sounding in other synthesis modules are silenced. Temporal data are also built into the defi nitions of “addsyn” and “addsamp” themselves. Th e fi rst message in Figure 7.2, “addsyn 9 127 10 50 1000 8400 1.5 12. 4,” means “make additive synthesis module 9 execute a two-stage envelope, rising to a level of 127 over 10 milliseconds, then decaying to a level of 50 over 1000 milliseconds, while playing a pitch of 8400 MIDI-cents (MIDI note 84 with a detune of 0 cents), with a vibrato of depth 1.5 Hz and speed 12 Hz; use the waveform in wave table 4 to generate the synthesized tone.” Aft er the envelope’s decay stage, the note will continue to sound at a level of 50 until a later cue adds further envelope stages; as in the MIDI protocol, the “note off ” is deferred to another message, creating temporal extension (TX) beyond the triggering note. Th e “addsamp” message assumes a note of known duration, with no “note off ” message needed. Th e message “addsamp 8400 156 1000 90 90 150 110” Simoni_RT76294_C007.indd 154 9/22/2005 11:19:18 AM
<strong>Philippe</strong> Manoury’s Jupiter • 155 means: “trigger a fl ute sample note at a pitch of 8400 MIDI-cents, with a starting playback level of 156, lasting 1000 milliseconds before its release, reading from a point 90 milliseconds into the sample, and waiting 90 milliseconds aft er the note starts before decaying over 150 milliseconds to a sustain level of 110.” Th e applied envelope is simple, since recorded samples contain their own intrinsic envelopes; using this message, the attack of a sampler note always lasts 5 milliseconds and the release 50 milliseconds. Th e “addsynth” message can be truncated to include only envelope data; this is usually used to silence a note that was triggered earlier. Five such messages are given at the end of Figure 7.2; messages to additive synthesis modules 4, 16, 18, 19, and 20 fade their notes to silence over 100 milliseconds. Th us, as the last “note on” is sent, fi ve other “note off s” are also sent. Figure 7.2 demonstrates four relational tactics operating simultaneously. Th e computer plays short sequences in a diff erent rhythm than the fl ute line (RA). Each note is orchestrated with a combination of synthesized and sampled timbres (SX). Th e sampler notes are short, while the synthesized notes extend temporally (TX) into fl utelike drones at several pitch levels (HX) that shade and support the fl ute line. 7.3.1.4. Increasing Independence: Patch-Based Relationships Th e four relational tactics described above are augmented by three other relationships that inhabit particular sections of the work—motoric coordination (MC), independent behaviors (IB), and sonic dynamics (SD). Each tactic increases the computer part’s autonomy from the fl ute in a diff erent manner, adding depth and variety to the relationship between fl ute and computer. All of these relationships rely on specialized modules within the patch to create complex behaviors without requiring constant triggering or mediation from messages in the qlist. Figure 7.2 suggests one practical reason to use such modules: as sequences within the qlist grow longer, they become cumbersome. Subsection III-F, from which this example is excerpted, contains nearly 800 separate messages. To make longer sequences practical, the Jupiter patch includes eight simple sequence players, each invoked by a single message within the qlist. Sequence playback using sampled timbres characterizes Sections VIII and X of the piece; Section VIII uses tam-tam samples and Section X, downsampled fl ute tongue-ram samples. Beyond the harmonic, rhythmic, and timbral expansion the sequenced samples provide, the use of extended sequences has signifi cant consequences for the relationship between fl utist and computer. Once a sequence begins, it cannot adjust to the fl ute; the computer takes absolute control of time. Th e fl utist follows the computer based on the motoric rhythm established by the sequence. Th us, this relationship is described as motoric coordination (MC). Simoni_RT76294_C007.indd 155 9/22/2005 11:19:19 AM
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