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Papertonnetz: Music Composition with Interactive Paper Louis Bigo, Jérémie Garcia, Antoine Spicher, Wendy E

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Papertonnetz: Music Composition with Interactive Paper Louis Bigo, Jérémie Garcia, Antoine Spicher, Wendy E PaperTonnetz: Music Composition with Interactive Paper Louis Bigo, Jérémie Garcia, Antoine Spicher, Wendy E. Mackay To cite this version: Louis Bigo, Jérémie Garcia, Antoine Spicher, Wendy E. Mackay. PaperTonnetz: Music Composi- tion with Interactive Paper. Sound and Music Computing, Jul 2012, Copenhague, Denmark. hal- 00718334 HAL Id: hal-00718334 https://hal.inria.fr/hal-00718334 Submitted on 16 Jul 2012 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. PAPERTONNETZ: MUSIC COMPOSITION WITH INTERACTIVE PAPER Louis Bigo1,3 Jer´ emie´ Garcia1,2 Antoine Spicher3 Wendy E. Mackay2,4 [email protected] [email protected] [email protected] [email protected] 1IRCAM, CNRS UMR STMS 2INRIA, LRI 3LACL, Univ. Paris-Est Crteil 4Stanford University 1 place Igor Stravinsky Univ. Paris Sud, CNRS 61 avenue du Gal de Gaulle Computer Sciences, Gates F-75004 Paris, France F-91405 Orsay, France F-94010 Creteil,´ France B-280 Standord, CA ABSTRACT Creating spatial relationships that follow precise mathe- matical properties, such as the interval cycles that underlie Tonnetze are space-based musical representations that lay harmonic progressions, offers opportunities for both anal- out individual pitches in a regular structure. They are pri- ysis and composition. Systems such as Harmony Space [2] marily used for analysis with visualization tools or on pa- and Isochords [3] allow composers to analyze chords, har- per and for performance with button-based tablet or tangi- mony and MIDI sequences using different Tonnetz repre- ble interfaces. This paper first investigates how properties sentations. of Tonnetze can be applied in the composition process, in- We are interested in another role for Tonnetze, i.e. to sup- cluding the two-dimensional organization of pitches, based port music composition. We were inspired by Jean-Marc on a chord or on a scale. We then describe PaperTon- Chouvel’s composition process [4], in which he designs netz, a tool that lets musicians explore and compose mu- his own Tonnetz, prints them on paper, and then generates sic with Tonnetz representations by making gestures on in- musical sequences. He draws paths through sets of Ton- teractive paper. Unlike screen-based interactive Tonnetz netz cells, which provides the inherent order necessary to systems that treat the notes as playable buttons, PaperTon- define musical sequences. After exploring his ideas, he netz allows composers to interact with gestures, creating then transforms them into a standard format on a musical replayable patterns that represent pitch sequences and/or score (see Figure 2). Although this works well, we wanted chords. We describe the results of an initial test of the sys- to take his approach one step further to provide a direct tem in a public setting, and how we revised PaperTonnetz link between paths drawn on a paper Tonnetz and on-line to better support three activities: discovering, improvising composition tools. and assembling musical sequences in a Tonnetz. We con- clude with a discussion of directions for future research This paper presents PaperTonnetz which lets composers with respect to creating novel paper-based interactive mu- create their own Tonnetz representations, print them on sic representations to support musical composition. interactive paper, and ’play’ them with a pen. We use Anoto technology 1 to detect the position of a digital pen as it draws ink on paper and produces the corresponding 1. INTRODUCTION pitch. PaperTonnetz can be used as a simple performance A Tonnetz, or “tone-network“ in German, is a two-dimen- tool, similar to the tablet-based systems described above, sional representation of the relationships among pitches. but with an emphasis on drawing paths rather than press- Individual pitches are laid out along multiple axes: each ing buttons. However, PaperTonnetz can also be used as intersection is displayed as a cell with a specific pitch. Cre- a sophisticated composition tool, enabling the composer ated by Euler in 1739, Tonnetze were first used to represent to capture, replay, transform and compare sequences and just intonation, with equal distances between the pitches. chords. Our goal is to combine the flexibility of paper and In the mid 1800s, Riemann explored the use of these spaces the power of the computer to help composers explore new to chart harmonic motion between chords and modulation creative possibilities. among keys. Section 2 describes related work on the use of Tonnetze More recently, Tonnetze have been used to analyze classes to support performance as well as related research on inter- of pitches, representing neo-Riemannian transformations active paper to support composition. Next, we discuss how [1] in which every cell is associated with one of 12 pitches, Tonnetze can be designed to form a composition space. We independently of octave. The vertical axis organizes pitches then introduce PaperTonnetz and describe our initial study in cycles of fifths; the two diagonal axes represent minor of users, both novices and experienced musicians, as they third and major third cycles. Figure 1 illustrates a region of tried it at a public event. We explain how the results in- a neo-Riemannian Tonnetz that extends infinitely in all di- fluenced the design of PaperTonnetz to explicitly support rections and helps visualize harmonic chord progressions. discovery, improvisation and assembly of complex musical sequences. We conclude with a discussion of the benefits Copyright: c 2012 Louis Bigo et al. This is an open-access article distributed of using interactive paper and Tonnetze to support music under the terms of the Creative Commons Attribution 3.0 Unported License, which composition as well as directions for future research. permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. 1 http://www.anoto.com 2. RELATED WORK Minor Major 3 4 Third Third Tonnetze may be implemented on a computer, enabling musicians to use them for performances. For example, C- 2 Thru , creates physical Tonnetz keyboard in which each 5 Fourth cell is a physical hexagonal button. The user can play in- dividual notes by pressing one button at a time, or play Figure 1. The neo-Riemannian Tonnetz frequently used to several simultaneously to create a chord. visualize chord progressions because of its harmonic prop- Tablet-based systems such as Musix and IsoKey offer users erties. a customizable isomorphic layout on the screen. Like C- Thru’s products, users can press the hexagonal cells to pro- duce individual pitches, melodies and chord patterns. They then use them as a resource for new compositions. also allow users to switch among different Tonnetz layouts We are interested in allowing composers to use Tonnetz during a performance. Maupin et al. [5] examined the har- as an aid to the composition process. This requires creating monic and melodic characteristics of different square and a Tonnetz-based composition space, discussed in section hexagonal pitch layouts and identified which layouts are 3, and an interactive paper-based system for letting com- better suited to different types of improvisation, within par- posers capture and modify musical expressions, described ticular harmonic contexts. in section 4. Although these systems provide interesting performance opportunities, they were not designed to support composi- 3. TONNETZ AS A COMPOSITION SPACE tion. Computer-based tools that are specifically intended for composition are usually dedicated to the later stages 3.1 Composition example of the creative process [6], such as assigning sequences in Chouvel’s work, entitled Traversee´ [4], offers a compelling time, editing scores or experimenting with advanced forms example of how a Tonnetz can be used as a tool for ex- of sound synthesis. Most of these tools involve learning a 3 ploring composition ideas. After creating and printing a specific language, such as MAX/MSP or OpenMusic [7], Tonnetz on paper, Chouvel drew differently colored paths although a few provide more direct methods, such as Bux- through the hexagonal cells, each representing a set of pitch ton et al.’s [8] techniques for interpreting hand-drawn mu- sequences. He called the resulting geometrical shapes ’con- sical notations. stellations’ because they look like the line drawings that Yet even composers with computer skills and access to connect individual stars in a map of the night sky. Once advanced composition systems prefer to sketch their early drawn, he was able to perform geometrical transformations creative ideas on paper [9, 10]. Paper helps creative pro- on the paths and examine the results, represented as notes fessionals externalize their ideas [11] and composers of- on a standard musical score. Figure 2 illustrates this pro- ten create their own personal languages to express musical cess: note that the paths that link different pitches may be ideas [12], which are difficult to translate into computer treated as a sequence, to create a melody, or in parallel, to terms. create a chord. One method for bridging the gap between physical paper and composition software is interactive paper. The most common approach uses Anoto technology [13], which uses a digital pen to capture the precise location as the pen moves on the paper. The pen contains an integrated video camera in the tip. The paper is printed with tiny, almost in- visible dots that create a unique, identifiable pattern. When the user draws on this paper with the pen, the camera de- tects the precise location of the pen on the page, as well as the time it was written, the pen that was used and even which page.
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