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Page 15 ï~~PIANO TO CO PI Jean-Claude F Laboratoire de M canique et d'Acoustique et Fac Chemin Joseph Aiguier, 13009 Marseille, Fra ABSTRACT S I this presentation, first implem what I believe to be the between a pianist and a computer, with Scott Van Duyne S The computE pianist's performance and adds a part This part depends upon what the pian The acoustic piano is a Yamaha Di, input kinds and output. order to explor interaction, composed comprising eight sections, eaci demonstrates an elementary process
Page 16 ï~~did not absorb their attention completely. Later, produce piano-roll like printouts which he 1 the printed spots he could then have them play Nancarrow. I myself synthesized poor computer piece, piano Distances, for piano and computer sot the endless descents had synthesize currently writes piece for pianists playi advantage of the virtuosity to control digital so perverted way a After all, insn't the piano the b Live interaction on an acoustic piano w 1989, while was Composer residenc Laboratory, M.I.T., thanks to a grant of the Ma worked on the implementation of a live interacl This implementation was accomplished with the I must pay tribute here to Scott's dedication, c which the delicate problems we met wer( manner.
Page 17 ï~~The desired flexibility in the type of inter careful written programming. We were privileged by Miller Puckette for making C specially designed to set up real-time intera input and output capabilities. It includes a '+ specify goa by designing graphical "pat combination of elementary modules. Problems live interaction: MIDI fe In trying to implement such live interactic immediately encountered problems which di same kind live interaction between cc synthesizers. The worst problem was Disklavier regardless sends out MIDI message wher of whether originated from the sent by the computer. Thus, trying to echo _ a - II 0.lI a11. - - -1 ' - a - a a - a M - a - - - a a - - a A - A a- a aA a a a A A
Page 18 ï~~Controlling process oriented composil In addition solving the above problen additional tools in MAX to help developing a cc demonstrate certain elementary processes of developed were pitch trigger with velocity ar modify the processes and make them dependant editing modules; and "listener/playback" devic canons from the materia played by the pianist, of MAX to control different voices at different te Duet for one pianist piano piece wi interaction between computer and perft I have taken advantage of this live interacti compose Duet for one pianist, piano piec interaction between computer and performer.1 eight sketches, each of which explores and de I
Page 19 ï~~Stretch. Pitches are added, as in Extensi transposed: they are stretched by factor stretches the chords as well as the melodies F Resonances. At the beginning and the enc chords. In the middle section, the pianist pla in resonance by the sequences played by the c Up Down. Quasi-octave arpeggioes are 1 notes can thus generate many notes. The ter the tempo of certain patterns played by the then by the loudness. Metronomes. This begins by a short canon: transposed pitches and different temp different sequences at different tempos. The again at different metronomic tempos, either its version. the niece reulire... m