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Improvisatory Music and Painting Interface

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Improvisatory Music and Painting Interface Hugo Solís García Licenciado en Piano Universidad Nacional Autónoma de México November 2001 Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning, in partial fulfillment of the requirements for the degree of Master of Science in Media Arts and Science at the Massachusetts Institute of Technology September 2004 © 2004 Massachusetts Institute of Technology All rights reserved Author: Hugo Solís García Program in Media Arts and Sciences August 16, 2004 Certified by: Tod Machover Professor of Music and Media Thesis Supervisor, MIT Program in Media Arts and Sciences Accepted by: Dr. Andrew B. Lippman Chair, Departmental Committee on Graduate Students Program in Media Arts and Sciences Title Improvisatory Music and Painting Interface Hugo Solís García Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning on August 16, 2004. in partial fulfillment of the requirements for the degree of Master Of Science in Media Arts and Sciences Massachusetts Institute of Technology Abstract Shaping collective free improvisations in order to obtain solid and succinct works with surprising and synchronized events is not an easy task. This thesis is a proposal towards that goal. It presents the theoretical, philosophical and technical framework of the Improvisatory Music and Painting Interface (IMPI) system: a new computer program for the creation of audiovisual improvisations performed in real time by ensembles of acoustic musicians. The coordination of these improvisations is obtained using a graphical language. This language is employed by one “conductor” in order to generate musical scores and abstract visual animations in real time. Doodling on a digital tablet following the syntax of the language allows both the creation of musical material with different levels of improvisatory participation from the ensemble and also the manipulation of the projected graphics in coordination with the music. The generated musical information is displayed in several formats on multiple computer screens that members of the ensemble play from. The digital graphics are also projected on a screen to be seen by an audience. This system is intended for a non-tonal, non-rhythmic, and texture-oriented musical style, which means that strong emphasis is put on the control of timbral qualities and continuum transitions. One of the main goals of the system is the translation of planned compositional elements (such as precise structure and synchronization between instruments) into the improvisatory domain. The graphics that IMPI generates are organic, fluid, vivid, dynamic, and unified with the music. The concept of controlled improvisation as well as the paradigm of the relationships between acoustic and visual material are both analyzed from an aesthetic point of view. The theoretical section is accompanied by descriptions of historic and contemporary works that have influenced IMPI. Thesis Supervisor: Tod Machover Title: Professor of Music and Media, Program in Media Arts and Sciences This work was supported by the TELMEX fellow program Abstract Improvisatory Music and Painting Interface Thesis Committee Thesis Supervisor Tod Machover Professor of Music and Media MIT Program in Media Arts and Sciences Thesis Reader John Maeda Associate Professor of Design and Computation MIT Program in Media Arts and Sciences Thesis Reader Pattie Maes Associate Professor of Media Technology MIT Program in Media Arts and Sciences Thesis Committee Improvisatory Music and Painting Interface Acknowledgements Special thanks to: Acknowledgements Advisor Readers Tod Machover Pattie Maes John Maeda DNA Group Teachers Jiu Chichí Tod Gili Mary Tristan Chris Csikszentmihályi Jazmín Mauricio David Roberto Ariane John Maeda Julieta Emiliano Laird Diana Peter Tod Machover Bischichis & Relatives Natasha Heather Lisa Joe Paradiso Jacqueline Barry Vercoe Peter Cariani Lab, MIT & Help Buddies Herman@s Cornelle Isis Forrest Tristan Mary Ariane Omar Emilio Ana PEMI Ben David Laird Kristie Saoirse Hector Gabriela Devora Noah Golan Carla Ryan Agatha Mauricio Vanessa Nick Mark Telmex- Samuel Sam Carlos Rodrigo Adriana Saul Fellows NecSys David Brian Victor Luciana Carlos Suad Pachuca Chilanguita Amanda James Claudia Paula miChiquita … Daniel Larissa … Roselina Maria laBandaCCH English Respect Funding House David Tristan Immigrants TELMEX Raj Melissa Carla Sam Mary EZLN Media Lab Tristan Victor Ouko Roberto Phone-bill payers Sam Thomas Shen Thalia Table of Contents Title................................................................................................................................................................ 1 Abstract......................................................................................................................................................... 3 Thesis Committee ......................................................................................................................................... 5 Acknowledgements....................................................................................................................................... 7 Table of Contents.......................................................................................................................................... 9 Table of Figures...........................................................................................................................................13 CHAPTER 1 INTRODUCTION ...........................................................................15 1.1 Motivation ..............................................................................................................................................15 1.2 Brief Description and Contributions ...................................................................................................16 1.3 Overview of the Thesis ..........................................................................................................................17 CHAPTER 2 BACKGROUND: MUSICAL IMPROVISATION, NOTATION, AND COMPUTER MUSIC SYSTEMS.........................................................................19 2.1 Musical Improvisation ..........................................................................................................................19 2.1.1 Musical Improvisation, Background ................................................................................................19 2.1.2 Collective Improvisation and Various Ensembles ...........................................................................21 2.1.3 Notation and Improvisation..............................................................................................................22 2.1.4 Improvisation and Style ...................................................................................................................23 2.1.5 Computer Assisted Improvisation....................................................................................................23 2.1.6 Representative Works and Technologies .........................................................................................23 2.2 Computer Assisted Composition..........................................................................................................25 2.2.1 Computer Assisted Composition, Background ................................................................................25 2.2.2 Representative Software and Technologies......................................................................................25 2.3 Musical Notation....................................................................................................................................27 2.3.1 Musical Notation, Background ........................................................................................................27 2.3.2 Notation and Computers ..................................................................................................................28 2.3.3 Representative Software and Technologies......................................................................................29 CHAPTER 3 AUDIOVISUAL EXPRESSION, THEORETICAL BACKGROUND ............................................................................................................................31 3.1 Initial Observations...............................................................................................................................31 3.2 Elements of Music, Basic Units and High-Level Structures ..............................................................32 3.3 Elements of Visual Analysis, Basic Units and High-Level Structures...............................................32 3.3.1 Paul Klee and Wassily Kandinsky ...................................................................................................33 3.4 Imagination ............................................................................................................................................34 3.5 Form and Gesture..................................................................................................................................35 3.6 Characteristics of Systems for Audiovisual Performance..................................................................35 3.7 Mapping between Music and Graphics ...............................................................................................36 3.8 Translation versus Mapping.................................................................................................................37
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