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Philippe Manoury's Jupiter

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Philippe Manoury's Jupiter 7 Philippe Manoury’s Jupiter1 ANDREW MAY 7.1. Introduction Philippe Manoury’s Jupiter for ! ute and computer broke new ground in using real-time pitch tracking and score following to correlate computer- generated sound with a live performer. Many novel approaches to real-time computer music were developed in the course of creating the work. Jupiter explores these resources, but more importantly, builds them into a work of orchestral scope. Its half-hour span develops a deeply interconnected network of musical relationships between ! ute and computer. " e computer acts as conductor, musicians, and instruments in an invisible and disembodied but highly responsive digital orchestra, whose instruments and interactions with the ! utist are carefully orchestrated. " e conceptual distance between the ! ute line and the computer’s sounds varies tremendously: sometimes the computer is very close to the ! ute in timbre, gesture, and temporal behavior; at other times it is very distant. O# en di$ erent simultaneous layers within the computer part operate at di$ erent distances from the ! ute. " e disembodied orchestra presents particular challenges in analysis. " e shi# ing relationships between ! ute and computer are not fully represented by the score, by the so# ware that controls the computer part, or by the sonic result; all three elucidate the composer’s intent and are necessary to under- stand this work. Each represents a di$ erent perspective on the music—the score speaks primarily to the performer, the so# ware to the technologist, and the sonic result to the audience. " e work itself is situated elusively between notation, so# ware, performance, and sound. " is analysis will correlate these 145 SSimoni_RT76294_C007.inddimoni_RT76294_C007.indd 114545 99/22/2005/22/2005 111:18:591:18:59 AAMM 146 • Andrew May divergent perspectives and address the essential issues of timbre, interaction, and form in Jupiter. Manoury’s orchestration of timbral, gestural, and temporal relationships reveals a clear and cogent formal design. Archetypal sounds, gestures, and interactive relationships are established in the % rst section of the work. " ey are developed and recapitulated in later sections, each distinct and clearly de% ned, but all implicated in a complex web of musical connections. In this form, the model of a classical concerto is invoked and radically extended. Manoury’s notation renders his new electronic resources similarly “backward compatible” with musical expectation and tradition. In writing Jupiter, Ma- noury established an e$ ective adaptation among technology, composition, and performance through the invention of new models of concerto, orchestra, and orchestration. 7.2. Background Jupiter was the % rst work in Manoury’s Sonus ex Machina, a cycle of interac- tive works for instruments and computer written between 1987 and 1991. " e score to Jupiter lists the work as composed in 1987 and revised in 1992, though further revisions were made to the computer part at least through 1996 (see Puckette et al. 2003). " is long process of design and revision, spanning many years and a variety of developing technologies, transformed the work substantially. " e computer part was the result of an intensive col- laboration at the Institut de Recherche et Coordination Acoustique/Musique (IRCAM) between Manoury and Miller Puckette, with assistance from Cort Lippe, Marc Battier, Olivier Koechlin, and " ierry Lancino (see Manoury 2002). According to Puckette, Tom Mays, Les Stuck, and Serge LeMouton made later additions and revisions (see also Puckette et al. 2003). Flutist Lawrence Beauregard instigated the Jupiter project (see Manoury 2002), but died before the work was completed; Manoury dedicated the work to Beauregard’s memory. Puckette recalls that Beauregard . had developed a ! ute with % # een switches on its keys to aid a computer in tracking its pitch quickly. (Beauregard did not live to see his invention used on stage.) Barry Vercoe invented a score fol- lowing program to accompany Beauregard’s ! ute. " e combination of a ! ute pitch detector, with a piece of so# ware allowing live electronic processing and synthesis to be controlled by an event stream from a live instrument, seems to have been Manoury’s main inspiration in writing Jupiter. " e directors of IRCAM probably saw Jupiter as an exploratory piece that would open up possibilities for other compos- ers hoping to write interactive pieces, not least Pierre Boulez, who had SSimoni_RT76294_C007.inddimoni_RT76294_C007.indd 114646 99/22/2005/22/2005 111:19:161:19:16 AAMM Philippe Manoury’s Jupiter • 147 searched for many years for a way to add an electronic component to his Explosante/Fixe. (Puckette et al. 2003) " e 1987 version of Jupiter used Giuseppe DiGiugno’s 4x synthesizer (see Favreau et al. 1986), Beauregard’s MIDI ! ute, and the % rst version of Puckette’s Max so# ware—a text-based interface speci% cally designed to control the 4x (see Puckette 2002). " e 1992 version of Jupiter, which no longer required Beauregard’s MIDI ! ute, used Puckette’s Max/FTS so# ware (see Puckette 1991b). " is so# ware consisted of a graphical user interface (Max) that controlled signal-processing functions (FTS) running on the multi-processor IRCAM Signal Processing Workstation (see Lindemann et al. 1991). Jupiter has survived the evolution of technology remarkably well; versions reportedly exist for all three of the Max variants currently in circulation—Max/MSP, jMax, and PureData. " is analysis will refer to the PureData (pd) version, to which Puckette and Manoury have made several improvements, and which they currently use in performance. 7.3. ! e Analysis When analyzing a work of this scale, an overview of its structure provides a useful context. " e Jupiter score makes this relatively simple: the piece is organized in thirteen distinct sections, identi% ed in the score by Roman nu- merals; each of these is further divided into subsections, identi% ed by letters. " e large sections alternate focus between the solo ! ute and the computer. Puckette has described this form anecdotally as resulting from the nature of the 4x computer used in the 1987 version. Programs had to be successively loaded into the machine in real time; while the ! utist played a solo, the tech- nicians would load the next program. If this is so, Manoury made a virtue of necessity. " e relationship to the alternation of solo and tutti sections in a traditional concerto provides a strong context for the form and reinforces the orchestral model of the computer’s role. " e beginning time point, duration, and starting page for each section of Manoury’s thirty-two-page handwritten score (at the time of this writing a printed score is in preparation) are given in Table 7.1, both for reference and to indicate the overall proportions of the work. " roughout this analysis, Table 7.1 Overview of Section Form and Proportions sect I II III IV V VI VII VIII IX X XI XII XIII start 0:00 3:16 4:58 7:44 9:42 13:02 16:07 16:57 19:15 20:50 21:44 23:07 26:27 dur 3:16 1:42 2:46 1:58 3:20 3:05 0:50 2:18 1:35 0:54 1:23 3:20 1:37 page 1 6 9 13 15 17 20 21 26 27 28 29 32 SSimoni_RT76294_C007.inddimoni_RT76294_C007.indd 114747 99/22/2005/22/2005 111:19:171:19:17 AAMM 148 • Andrew May indications of time points and descriptions of sound will refer to Elizabeth McNutt’s recording of Jupiter, with which the author became thoroughly conversant in the process of preparing it for release on CD. An overview of the relationship between ! ute and computer is also rela- tively simple. " is relationship is highly determinate: the parts are synchro- nized frequently at cues provided by particular notes in the ! ute line. " e ! utist reads from a score that includes the computer’s part, as well as each numbered cue. " e computer, too, reads from a score; each section of the work is represented to the computer by a pair of text % les. One of these, the “follow” score, documents the ! ute’s expected sequence of notes and relates it to a numbered sequence of cues. " e other text % le, the “qlist,” correlates each cue with messages to so# ware modules that determine the computer’s responses. In this textual notation, the follow score corresponds to the ! ute part, and the qlist to the computer part. As the ! utist reads the notated score in performance, the computer reads through the follow and qlist scores to % nd its way through the piece. " e relationships between ! utist and computer are constantly mediated by a combination of the computer’s text scores and the ! utist’s notated score. 7.3.1. Technological Perspective: Instruments, Players, and Conductor " e Jupiter scores are parsed and put into action by a large and intricate patch written in the Max environment (see Puckette 1991a). " is graphical document both creates and displays the ! ows of data, signals, and processes that produce the timbres and behaviors of the computer part. " e patch is modular, consisting of numerous “subpatches” that are o# en nested inside one another. Each subpatch performs a speci% c function such as pitch track- ing, score following, synthesis, or sample playback. " e Jupiter patch integrates the functions of orchestra, players, and conductor. " e pitch tracker and score follower correlate the ! utist’s notes with the follow score and trigger messages from the qlist. " e qlist messages instruct the various subpatches to generate the sounds and behaviors that make up the computer part. " e messages are interpreted according to a syntax built into the design of each subpatch. Many subpatches can receive several di$ erent kinds of messages which trigger di$ erent behaviors. " e instruments themselves are signal-processing functions buried within the patch; they receive data from a variety of other subpatches that mediate be- tween the qlist’s messages and the instruments.
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