- Neuman, I. “SIG~: Performance Interface for Schaefferian Sound-Object
accepted for publication Proceedings of the International Computer Music Conference (2015)
Pierre Schaeffer’s theory of sound objects is a milestone in the historical development of electronic music. The TARTYP plays a central role in this theory. The TARTYP, however, is not widely accepted as a practical tool for musical analysis and composition, in part due to the large number of confusing and vague terms it introduces. This paper suggests a focus on Schaeffer’s sound recordings that exemplifies the TARTYP as a source for aural learning of this taxonomy and an improvisational approach that explores the practical applications of the TARTYP to real-time composition and computer improvisation. A software based on the TARTYP generative grammars and a performance system supporting this improvisational concept are presented along with specialized graphic notation of TARTYP sound objects set in animated scores. Finally the paper describes performance practices developed for SIG~, a Schaefferian improvisation group based in Iowa City.
- Neuman, I. et al.“Mapping Motion To Timbre: Orientation, FM Synthesis and Spectral Filtering,”
Proceedings of the International Computer Music Conference (Athens, 2014)
Motion is a time-based event situated in three-dimensional space. In the performance of most musical instruments, the musician associates physical motion with audible results. In some instruments, physical motion is used to change the timbre of the instrument. Digital techniques of analysis and re-synthesis have paved the way for the understanding of timbre as a distribution of energy among spectral frequencies in a three-dimensional space bounded by axes representing time, frequency and amplitude. In this paper, we present a musical performance system that explores the correlation between motion and sound, more specifically, timbre. A mobile device and its motion sensors function as a control element in the performance system that creates new timbres in real time.
- Neuman, I. “Generative Tools for Interactive Composition: Real-Time Musical
Structures Based on Schaeffer’s TARTYP and on Klumpenhouwer Networks,”
Computer Music Journal 38 no. 2 (2014)
Interactive computer music is comparable to improvisation because it includes elements of real-time composition performed by the computer. This process of real-time composition often incorporates stochastic techniques that remap a predetermined fundamental structure to a surface of sound processing. The hierarchical structure is used to pose restrictions on the stochastic processes, but, in most cases, the hierarchical structure in itself is not created in real time. This article describes how existing musical analysis methods can be converted into generative compositional tools that allow composers to generate musical structures in real time. It proposes a compositional method based on generative grammars derived from Pierre Schaeffer’s TARTYP, and describes the development of a compositional tool for real-time generation of Klumpenhouwer networks. The approach is based on the intersection of musical ideas with fundamental concepts in computer science including generative grammars, predicate logic, concepts of structural representation, and various methods of categorization.
- Neuman, I. "Generative Grammars for Interactive Composition Based on
Proceedings of the International Computer Music Conference (Perth, 2013)
Noam Chomsky’s Phrase Structure (PS) grammars and the [∑, F] form of rewrite rules are an efficient analytical tool for complex musical structures as well as a generative tool for classification-based compositional processes. Pierre Schaeffer’s summary table of sound typology, the TARTYP, is a milestone in the evolution of contemporary approaches to the organization of musical material. In this paper, we propose a compositional method that combines the TARTYP classification of sound objects with generative grammars derived from this table. These grammars enable the creation of musical structures that reflect the inter-relationships suggested by the table’s structure. The tools presented in this paper are designed for real-time compositions in interactive environments. They are embedded in Max/MSP or Pure Data as extensions of the MaxObject class and directly engage the sound processing capabilities of these environments. The complex musical structures generated by these tools are brought to life at the surface of the composition in a versatile way that uses the spectral signatures of sound objects from Schaeffer’s sound examples.
- Neuman, I. “Physical Modeling: Dynamic Control of Live Electronics,”
Research presentation, 2012 SEAMUS National Conference
- Neuman, I. "Normal Mode for chamber ensemble and electronics."
PhD diss., University of Iowa, 2010.
Normal Mode is a composition for chamber ensemble and electronics that makes reference to the microtonality employed in Turkish music. In this composition I have made an attempt to expand the timbral palette of standard Western instruments by the use of electronic sounds, which were constructed through digital sound synthesis. The microtonal frequencies, which were used in this synthesis process, were derived from the Turkish tonal system. The ensemble material, on the other hand, was conceived within a Western-influenced serial pitch organization. These two distinct influences invite a dynamic discourse between the ensemble and the electronics. As a new instrument, which was developed specifically for this composition, the electronics initially attracts more attention. Over time a new equilibrium is established and the electronics part is integrated in the ensemble.
The electronics part of Normal Mode was created in the object-oriented programming environment Max/MSP. It is realized in a performance of the composition with the same software. Five of the chapters of this thesis discuss the compositional process of the electronic part and the system of organization that guided this process. These chapters describe how this system was incorporated in the programming of Max/MSP patchers which generated the composition's sound library and perform the electronics part in real time. They also describe the relationships between the ensemble and the electronics. The sixth chapter presents the composition Normal Mode. The Max/MSP patchers that perform the electronics part are included in the supplement of this thesis.
Iowa Research Online
- Neuman, I. “Review, the University of Iowa, Electronic Music Studios Concert Series.”
Journal SEAMUS 20, no. 2 (2009)
Max/MSP and PD Patches of Completed Works
Embracement (2013) for cello and electronics zip
Proof of Knowledge (2012) for flute, electronics and video zip
Triggers (2010) for tenor saxophone and electronics zip
Normal Mode (2010) for chamber ensemble and electronics zip
Compositional Performance and Research Tools
- SIG~: Schaefferian Improvisation Interface
- for PD
- Mobile Telephony and Embodied Interaction
Motion To Timbre Software
Related Publication PDF
- Interactive K-Net
- for PD
Related Publication PDF
- Generative Interactive TARTYP
Generative Interactive TARTYP Demo
Generative Interactive TARTYP tools
Related Publication PDF