Abstract
Comprovisador is a system designed to enable real-time mediated soloist-ensemble interaction, through machine listening, algorithmic procedures and dynamic staff-based notation. It uses multiple networked computers – one host and several clients – to perform algorithmic compositional procedures with the music material improvised by a soloist and to coordinate the musical response of an ensemble. Algorithmic parameters are manipulated by a conductor/composer who mediates the interaction between soloist and ensemble, making compositional decisions in real-time. The present text, an extended version of a paper presented at CMMR 2018, in Matosinhos, focuses on the notation interface of this system, after overviewing its concept and structure. A discussion is made on how rehearsals and live performances impacted the development of the interface.
This is a preview of subscription content, log in via an institution to check access.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Notes
- 1.
Such is the case of “OMax”, a computer program capable of learning in real-time the typical characteristics of a musician’s improvisational style, as well as to play with him, in an interactive way [3].
- 2.
For example, Jason Freeman used colored LED light tubes to convey pitch and dynamics information to performers, in his work “Glimmer” [12].
- 3.
Before coining the term “Conduction”, Morris had used the term “Comprovisation” to define his performance practice [24]. This term (to which “Comprovisador” is a Portuguese derivative) was later used by authors such as Richard Dudas [10] and Sandeep Bhagwati [5] in other contexts but nonetheless referring to musical performance practices where both composed and improvised elements coexist.
- 4.
Pedro Louzeiro is a member of the Lisbon Soundpainting Orchestra.
- 5.
A paper discussing the control interface module and its application in mediating a comprovisation performance was presented at ICMC 2017 [20].
- 6.
A paper entitled “Improving Sight-Reading Skills through Dynamic Notation – the Case of Comprovisador” exploring this issue shall be presented at TENOR 2018 conference, taking place in Montreal, Canada.
- 7.
As a result of recent changes implemented in version 3.85 (explained in Sect. 5), quantization will now aim at eight 1/4 measures.
- 8.
See new video example of the score in action, made with versions 3.83 and 3.85 of Comprovisador.client (minutes \(3'36''\)–\(4'09''\) – this section was made with version 3.83):
References
User Interface Design (2015). https://en.wikipedia.org/wiki/User_interface_design. Accessed 20 Aug 2015
Agostini, A., Ghisi, D.: A max library for musical notation and computer-aided composition. Comput. Music. J. 39(2), 11–27 (2015). https://doi.org/10.1162/COMJ_a_00296
Assayag, G., Bloch, G., Chemillier, M., Lévy, B., Dubnov, S.: Omax (2015). http://repmus.ircam.fr/omax/home. Accessed 04 Apr 2017
Benson, A.: Content You Need: Miraweb (2016). https://cycling74.com/articles/content-you-need-miraweb. Accessed 13 Apr 2017
Bhagwati, S.: Notational perspective and comprovisation. In: de Assis, P., Brooks, W., Coessens, K. (eds.) Sound & Score: Essays on Sound, Score and Notation, pp. 165–177. Leuven University Press, Leuven (2013)
Brandt, E., Dannenberg, R.B.: Time in Distributed Real-time Systems. Carnegie Mellon University (1999). http://repository.cmu.edu/compsci/498/
Dannenberg, R.B.: Time-flow concepts and architectures for music and media synchronization. In: Proceedings of the 43rd International Computer Music Conference, Shanghai, pp. 104–109 (2017). https://www.cs.cmu.edu/~rbd/papers/timeflow2017.pdf
Didkovsky, N., Hajdu, G.: MaxScore: music notation in Max/MSP. In: Proceedings of the International Computer Music Conference, Belfast (2008)
Dodge, C., Jerse, T.: Computer Music: Synthesis, Composition, and Performance. Schirmer Books, New York (1997). https://books.google.pt/books?id=eY_BQgAACAAJ
Dudas, R.: Comprovisation: the various facets of composed improvisation within interactive performance systems. Leonardo Music J. 20, 29–31 (2010)
Fober, D., Daudin, C., Letz, S., Orlarey, Y.: Partitions musicales augmentées. In: Actes des Journées d’Informatique Musicale, Rennes (2010)
Freeman, J.: Extreme sight-reading, mediated expression, and audience participation: real-time music notation in live performance. Comput. Music J. 32(3), 25–41 (2008). http://www.jstor.org/stable/40072645
Green, E., Gibson, M.: The expressive gestures. In: The Modern Conductor, 7th edn. Pearson Prentice Hall, Upper Saddle River (2004)
Grosse, D.: JSUI-MGraphics Patch-A-Day (2011). https://cycling74.com/forums/jsui-mgraphics-patch-a-day. Accessed 23 Apr 2017
Hajdu, G., Didkovsky, N.: On the evolution of music notation in network music environments. Contemp. Music. Rev. 28(4–5), 395–407 (2009). https://doi.org/10.1080/07494460903422313
Hope, C., Vickery, L.: The decibel scoreplayer – digital tool for reading graphic notation. In: International Conference on Technologies for Music Notation and Representation, Paris (2015)
James, S., et al.: Establishing connectivity between the existing networked music notation packages quintet.net, decibel scoreplayer and maxscore. In: International Conference on Technologies for Music Notation and Representation, A Coruña (2017)
Louzeiro, P.: Comprovisador – About (2017). https://comprovisador.wordpress.com/
Louzeiro, P.: Comprovisador.client – Notation Interface Video Examples (2017). https://comprovisador.wordpress.com/notation-examples/
Louzeiro, P.: Mediating a comprovisation performance: the comprovisador’s control interface. In: Proceedings of the 43rd International Computer Music Conference, Shanghai, pp. 362–367 (2017). http://www.icmc2017.com/en/download.html
Louzeiro, P.: Real-time compositional procedures for mediated soloist-ensemble interaction: the comprovisador. In: Agustín-Aquino, O.A., Lluis-Puebla, E., Montiel, M. (eds.) MCM 2017. LNCS, vol. 10527, pp. 117–131. Springer, Cham (2017). https://doi.org/10.1007/978-3-319-71827-9_10
Puckette, M., et al.: Max 7: Documentation. https://docs.cycling74.com/max7/. Accessed 31 Jan 2017
Smith, R.R.: Animated Notation Dot Com (2014). http://animatednotation.com. Accessed 01 July 2017
Stanley, T.T.: Butch Morris and the art of conduction. Ph.D. thesis, University of Maryland (2009)
Thompson, W.: Soundpainting: The Art of Live Composition. Workbook, vol. 1. W. Thompson (2006). https://books.google.pt/books?id=m6BMnQEACAAJ
Acknowledgments
I should like to thank my supervisors Christopher Bochmann and António de Sousa Dias for their advice and continued support. This research is supported by FCT by means of a PhD studentship (POCH/EU).
Author information
Authors and Affiliations
Corresponding author
Editor information
Editors and Affiliations
Rights and permissions
Copyright information
© 2018 Springer Nature Switzerland AG
About this paper
Cite this paper
Louzeiro, P. (2018). The Comprovisador’s Real-Time Notation Interface (Extended Version). In: Aramaki, M., Davies , M., Kronland-Martinet, R., Ystad, S. (eds) Music Technology with Swing. CMMR 2017. Lecture Notes in Computer Science(), vol 11265. Springer, Cham. https://doi.org/10.1007/978-3-030-01692-0_33
Download citation
DOI: https://doi.org/10.1007/978-3-030-01692-0_33
Published:
Publisher Name: Springer, Cham
Print ISBN: 978-3-030-01691-3
Online ISBN: 978-3-030-01692-0
eBook Packages: Computer ScienceComputer Science (R0)