7 Philippe Manoury's Jupiter1

178 • Andrew May
the opening of Section I. Fragmentary gestures alternate with rapid fi gures
leading to either longer notes or rests. Th e latter extend the iterative behaviors
of subsections I-A and I-B into new melodic regions. Th e computer
follows suit, presenting longer segments of fast motoric rhythms. Th us, the
fl ute line’s fragmentation is matched by increasingly active accompaniment
by the computer. Th is developmental strategy itself mirrors the unfolding
of the fi rst four subsections of Section I. In Section III, the musical gestures
of Section II are further developed. Th e relational strategies used in Section
II are simultaneously extended to include elements of other archetypes. Th e
incipit-response patterns seen in subsections I-B and I-D are extended. Elements
of subsections I-F and I-G are also developed here and woven together
into a new texture at subsection III-F.
Th e return to lyrical solo passages in Sections IV and VII, accompanied by
temporal extension of fl ute notes, hearkens back to the opening and to subsections
I-A, I-C, and I-E. Section XI extends the model of an accompanied
solo with further orchestration and harmonic support from the computer.
Th e fl ute opens Section XIII with an inversion of the opening solo melody,
which introduces a foreshortened and enervated echo of Section I. Th e music
briefl y recalls several of the initial archetypes, and a few elements of their
development through the piece, before subsiding to the central C-sharp–G
tritone of the opening.
Even the computer’s most independent roles are outgrowths of the basic
relationships established in Section I. Th e computer’s independent behaviors
in Sections V and IX are a radical intensifi cation of the tactic of rhythmic
activation used in subsections I-B and I-D. Th is is combined with extreme
sonic and harmonic extension, as in subsection I-F when long rhythmic
passages inhabit new timbres and registers that contrast strongly with the
fl ute. While these sections are radically diff erent from the opening, elements
of their sounds and behaviors can still be traced back to archetypes
in Section I.
In a strategic sense, the interpolation engine used in Sections V and IX
actually positions the computer part much closer to the fl ute line than it
would appear. Th e shape, speed, and trajectory of the interpolations mirror
the fl utist’s interpretation of fi gures in Sections II and VII. If the fl utist’s
performance is faster or slower, more regular or irregular, the interpolated
sequences will follow that tendency. In this way, the fl utist is given authority
in one section to control the real-time composition of another. Th e timbres
in Sections V and IX obscure the close relationships between the fl ute’s
interpretation of certain gestures and the computer’s reinterpretations of
them. Th ese similarities are also hidden by the removal of the computer’s
recording of gestures from their re-creation, since they occur in completely
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