7 Philippe Manoury's Jupiter1

160 • Andrew May
notated with words and with arrows slanting up and down. Toward the end
of Section VII, these arrows become beams slanting up and down to indicate
accelerando and rallentando. Th e notation takes pains to point out the
interpretive opportunities provided by the score follower.
Th e correlation of the computer part to the fl ute part is clearly shown
throughout the score. A vertical line and a circled cue number highlight
each fl ute note that cues the computer. Th is can be seen in all the notation
examples below except Figure 7.4, where double bars before the cue substitute
for vertical lines. Th is focus on cues is striking, given that the fl utist does
not ideally have to follow the computer’s cues at all; rather, the computer
should respond to the fl ute at each cue. However, in practice the notation of
cues is necessary for the fl utist. To skip one of the cue notes could result in
the absence or temporal displacement of the cued event. Th e notation also
details the computer’s response at each cue, allowing the fl utist to observe
any uncorrected score-following errors. Th is is crucial in performance: if the
computer jumps ahead, the computer operator cannot make the computer
backtrack. Instead the fl utist must adjust by jumping forward to the cue the
computer has reached. Th e notation of cues also facilitates communication
between fl utist and technologist in rehearsal.
Manoury uses a variety of notations, giving successive pages very different
appearances. Th e computer part is particularly varied, ranging from
traditional pitches and rhythms, notated on as many as four staves, to entirely
graphic notations. Th e type of notation Manoury uses in each section creates
a “notational look,” to use Morton Feldman’s term (1985), that strongly
evokes the computer’s sound and relationship to the fl utist. Traditional markings
of dynamics and articulations augment the notation in many sections,
even where nontraditional notations are employed. Th e computer part also
includes technical indications of various kinds that describe the actions and
interactions of the computer—modes of signal processing, frequency shift er
settings, signal routings, and so forth.
A few unusual notations are used frequently; however, most of these are
easily reconciled with common practice. For example, a horizontal line extending
to the right of a note head is oft en used to indicate duration in the
computer part and some sections of the fl ute part. Th is correlates strongly
with the traditional notation of a tie. Exceptions occur when the computer’s
sounds or the relationship between fl ute and computer cannot be expressed
by traditional notation. Th e “backward compatibility” of the score helps
mediate between the perspective of a traditionally trained fl utist and the
new ideas proposed in this work.
7.3.2.2. Degrees of Freedom and Th eir Notational Looks Th e fl utist’s degree
of temporal freedom varies through the course of the work, corresponding
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