SMC 2018 Lecture

Saxophone TARTYP

TARTYP Research

Neuman, I. “Mapping Pitch Classes and Sound Objects: A Bridge Between Klumpenhouwer Networks and Schaeffer’s TARTYP,”
Proceedings of the 2018 Sound and Music Computing Conference (Limassol, Cyprus)

ABSTRACT
We present an interactive generative method for bridging between sound-object composition rooted in Pierre Schaeffer’s TARTYP taxonomy and transformational pitch-class composition ingrained in Klumpenhouwer Networks. We create a quantitative representation of sound objects within an ordered sound space. We use this representation to define a probability-based mapping of pitch classes to sound objects. We demonstrate the implementation of the method in a real-time compositional process that also utilizes our previous work on a TARTYP generative grammar tool and an interactive K-Network tool.

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Neuman, I. “SIG~: Performance Interface for Schaefferian Sound-Object Improvisation,”
Proceedings of the 2015 International Computer Music Conference (Denton, TX)

ABSTRACT
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.

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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)

ABSTRACT
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.

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Neuman, I. "Generative Grammars for Interactive Composition Based on Schaeffer’s TARTYP,”
Proceedings of the 2013 International Computer Music Conference (Perth, Australia)

ABSTRACT
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.

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TARTYP Compositions

Peculiar Mass (2016)
Schaefferian sound-object improvisation

SIG~
Schaefferian Improvisation Group of Iowa City

Anna Marshall – Horn and Electronics
Chris Sande - percussion, electronics
Israel Neuman - bass, electronics

Being too unpredictable the excentrics sounds of the TARTYP are at the edge of the sound space. The accumulations are sounds created by multiple but similar causes. Although marked as unfit for music by Pierre Schaeffer, these sounds attract great attention among contemporary electronic music composers. Focusing on these unusual sounds, Peculiar Mass combines pre-composed martial with Schaefferian sound-object improvisation guided by informed human choices as well as generative grammar engines and an interactive performance system.

SIG~ is a Schaefferian improvisation group based in Iowa City, Iowa, founded by Israel Neuman for the purpose of exploring the practical applications of Schaeffer’s TARTYP to real-time composition and computer improvisation. The premise of this exploration is the idea that the TARTYP taxonomy can be put into practical use through improvisation and the aural learning of Schaeffer’s sound examples. However, the ensemble’s focus is not on exact reproduction of Schaeffer’s sound examples. Instead, members of the ensemble use these examples to imitate the behavior of sounds and to create their individual interpretation of the TARTYP sound objects, i.e., sounds that have the same defining characteristics. The mastery of the TARTYP musical language in SIG~ is supported by software designed specifically for this ensemble using the Pd-extended and Processing environments. A core element of the SIG~ performance system are generative grammars derived from the classification of sounds in the TARTYP.

Recording

Score

Third Kind (2014)
for electric upright bass, multi-effect processor and live electronics

SIG~In Plato's Timaeus the “third kind” is a receptacle acting as a spatial field. In the interactive composition Third Kind two generative compositional approaches are combined: the first is based on Schaeffer’s taxonomy of sound objects (i.e., the TARTYP); the second in based on Klumpenhouwer Networks and transformational theory. Spectral quantitative methods were used to create ordering within collections or spaces of sound objects where the number of sound objects in a collection defines the modulus. Using an interactive generative tool, Klumpenhouwer Networks are created in real time within such variable-modulus sound-object spaces instead of the mod-12 pitch-class space where these networks usually reside. The piece includes pre-composed material as well as Schaefferian sound-object improvisation (Neuman 2015). The score includes TARTYP sound-object graphic notation (Neuman 2015, Thoresen 2007) along side traditional notation.

Recording

Score

Counterweight (2015)
Schaefferian sound-object improvisation

SIG~
Schaefferian Improvisation Group of Iowa City

Jeffery Agrell - horn, electronics
Ryan Smith - saxophones, electronics
Chris Sande - percussion, electronics
Israel Neuman - bass, electronics

Counterweight is a Schaefferian sound-object improvisation. Pierre Schaeffer’s theory of sound objects is a milestone in the historical development of electronic music. The TARTYP (Tableau Récapitulatif de la Typologie), i.e., Summary Table of the Typology of Sound Objects, plays a central role in this theory. It is a schematic representation of a taxonomy of sound objects that demonstrates the premises of the Schaefferian theory. While Schaeffer’s ideas set the path for major trends in electronic music, the TARTYP itself was not widely accepted as a practical tool for musical analysis and composition. Its impracticality is in part attributed to a large number of confusing and vague terms introduced by this theory. In contrast, Schaeffer, devoted a great deal of attention to the construction of sound examples that demonstrate his ideas. The TARTYP sound objects are exemplified Solfe`ge de l’objet sonore (P. Schaeffer and G. Reibel 1966).

Recording

Score

Idiosyncratic Parity (2014)
Schaefferian sound-object improvisation

SIG~
Schaefferian Improvisation Group of Iowa City
Ryan Smith - saxophones
Chris Sande - percussion
Israel Neuman - bass, electronics

Recording

Buildup (2014)
Schaefferian sound-object improvisation

SIG~
Schaefferian Improvisation Group of Iowa City
Ryan Smith - saxophones
Chris Sande - percussion
Israel Neuman - bass, electronics

Recording

Embracement (2013)
for cello and electronics

In 1957 Noam Chomsky introduced Phrase Structure (PS) grammars, a form of generation systems denoted [∑, F], where ∑ is a set of initial symbols and F is a set of rewrite rules. Pierre Schaeffer introduced the TARTYP (Tableau Récapitulatif de la Typologie) in 1966 as part of his typology of sound objects. In Embracement for cello and electronics paper, I have used a compositional method that combines the TARTYP classification with generative grammars. My goal was to develop compositional tools that generate and re-compose unified musical structures in real time.

A detailed description of the compositional method used to create the electronics of Embracement is provided in the paper:
Neuman, Israel. “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)

Recording

Score
Electronics