7 Philippe Manoury's Jupiter1

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176 • Andrew May Fig. 7.15 Peak-graph of Section I. I-A. In this subsection, the harmonizer is applied directly to the fl ute sound, extending it harmonically but not temporally or timbrally. Layered with this harmonic extension (HX), selected note-incipits trigger the reverberator to capture and hold the harmonizer’s output. Th is creates extended drones (TX) that support and color the fl ute line. Th e eff ect is reminiscent of recitative, with harmonies accompanying and amplifying the solo line. Patterns of arpeggiation begin to grow out of cue notes beginning around 34 seconds, but rapidly devolve into harmonic support. Orchestration of timbres is already evident here; the infi nite reverberator’s drones are doubled in unison by paf synthesis. Frequency shift ing added at the end creates a timbral transition into the start of subsection I-B, which begins at 50 seconds. Harmonic and behavioral continuity is provided by the drones in the reverb∞, which sustain the last harmony of subsection I-A throughout subsection I-B. In Section I-B, the fl utist iterates the second defi ning pitch of Section I, G4. Th e computer meanwhile generates melodic segments (RA, HX) through sequenced changes of transposition in the harmonizer. Th ese patterns are timbrally modifi ed (SX) by frequency shift ing, which also extends the computer’s melodies into a wide and chaotic registral span. Th e computer’s rhythmic activity takes the foreground, but the fl ute reclaims it with a fast staccato introduction to subsection I-C, a short passage beginning at 69 seconds that echoes the behaviors of subsection I-A. Simoni_RT76294_C007.indd 176 9/22/2005 11:19:25 AM
<strong>Philippe</strong> Manoury’s Jupiter • 177 At the end of subsection I-C a transition is again created by sustained harmonies held throughout subsection I-D. Here, at 84 seconds, the computer’s rhythmic and harmonic independence increases. Th e fl ute’s short notes and melodic fragments cue 32nd note fl urries in the computer. Selected high pitches from these fl urries are held, building an increasingly complex sustained harmony (TX, HX) as subsection I-D unfolds. Th e dense harmony fades at 100 seconds, setting the stage for subsection I-E. Th is solo fl ute passage hearkens back to the opening fl ute solo. At the end of this solo, the fl ute’s C-sharp 4 and G4 are sustained by the reverb∞, creating a harmonic connection to earlier sections. Th e drones are once again held through the next subsection and are doubled by paf synthesis. In subsection I-F, starting at 123 seconds, the fl ute’s line is still soloistic, but now continually returns to the low C-sharp pedal tone. Th e accompanimental relationship here is again recitativelike, with harmonies that closely follow the fl ute’s rhapsodic rhythm. Th e computer follows the fl utist’s grace notes closely, emphasizing these articulations through extensions of harmony and timbre (HX, SX). While rhythmically close to the fl ute, the computer’s harmonies and timbres are much further from the fl ute than before. Frequency shift ing, used earlier in subsection I-B, transforms the sustained C-sharp–G tritone into a series of rapidly changing harmonies that traverse extreme registers and skewed overtone structures. Th e contrast of the computer’s sounds with the fl ute line is extreme, even though the two are nearly in rhythmic unison. Subsection I-G, at 170 seconds, presents a new and diff erent musical behavior. Here, motoric 32nd notes in the fl ute are reminiscent of the computer’s passagework in subsection I-D, but in longer continuous lines. Th is prefi gures the motoric coordination (MC) of later sections. Th e computer is less active here—timbre, not time, is the domain of its independence. In addition to sonic extension in the form of frequency-shift ed reverberation of the fl ute’s sound, the computer provides temporal extension of selected fl ute pitches by doubling and sustaining them with paf synthesis. Th e timbral envelopes of the synthesized notes have a distinct character, with sharp and spectrally rich attack–decay phases (particularly visible in the octave above C7 between 170 and 183 seconds). Th e synthesized attacks stand out strongly before decaying into timbres that echo and support the fl ute line; they prefi gure the sonic dynamics (SD) of later sections. Sustained harmonies, melodic continuity, spatialization, and the recurrent C-sharp–G tritone, weave the subsections of Section I together, as do the various internal resemblances described above. At the same time, each subsection presents a distinct fi eld of timbres and relations between fl ute and computer. Th ese archetypal models are developed in later sections. In Section II the fl ute part fragments and extends the melodic materials presented at Simoni_RT76294_C007.indd 177 9/22/2005 11:19:26 AM
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7 Philippe Manoury's Jupiter1

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