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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.

ABSTRACT
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.

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.

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.