41
edits
no edit summary
Techprolet (talk | contribs) (Created page with "=UPIC= ==Some historical facts== During the first decades of the 20th century unconventional notation appeared in contemporary music in order to address a range of experimental...") |
Techprolet (talk | contribs) No edit summary |
||
| Line 12: | Line 12: | ||
==The original UPIC== | ==The original UPIC== | ||
The UPIC was a unique computer music system, designed as a tool for sound synthesis, to be manipulated specifically in the physical and visual realm. Unlike previous synthesisers controlled by keyboard, this device’s ‘instrument’ was an electromagnetic pen. This pen was used to trace out a visual representation of the sonic result on to an architects digital drawing board. This ‘score’ would then be saved onto the computer’s memory, and could be converted into sound. As Gérard Pape suggests that this was “a technical and musical innovation which permitted the composer to draw all element of his [or her] score from the micro- to the macro structure of the composition. Composition of musical form and sound synthesis were, thus, unified by the UPIC’s | The UPIC was a unique computer music system, designed as a tool for sound synthesis, to be manipulated specifically in the physical and visual realm. Unlike previous synthesisers controlled by keyboard, this device’s ‘instrument’ was an electromagnetic pen. This pen was used to trace out a visual representation of the sonic result on to an architects digital drawing board. This ‘score’ would then be saved onto the computer’s memory, and could be converted into sound. As Gérard Pape suggests that this was “a technical and musical innovation which permitted the composer to draw all element of his [or her] score from the micro- to the macro structure of the composition. Composition of musical form and sound synthesis were, thus, unified by the UPIC’s approach”<ref>Pape, G. (2001). Introduction [Booklet notes]. CCMIX Paris: Xenakis, UPIC, Continuum [CD]. Performed by Roland, p. 4</ref>. | ||
===How did Iannis Xenakis come up with the idea?=== | ===How did Iannis Xenakis come up with the idea?=== | ||
| Line 18: | Line 18: | ||
The idea of UPIC system goes back to 1953-54, when Iannis Xenakis wrote music for orchestra, using graphic notation for representing musical effects that were too complicated to be specified with traditional staff notation. The work Metastasis (written in 1953-54) makes systematic use of glissandi (continuous transition between two notes of different pitches). Xenakis drew the glissandi as straight lines in the pitch-versus-time domain. The score is written for sixty-one different instrumental parts. The great number of glissandi creates a sound space of continuous evolution comparable to the ruled surfaces and volumes that he used in architecture. Writing the glissandi in sixty-one different orchestra parts by hand was quite arduous. Xenakis had then to transcribe the graphic notation into traditional notation so that the music could be played by the orchestra. At this time, he came up with the idea of a computer system that would allow the composer to draw music. Indeed, graphic representation has the advantage of giving a simple description of complex phenomena like glissandi or arbitrary curves. Furthermore, it frees the composer from traditional notation that is not general enough for representing a great variety of sound phenomena. In addition, if such a system could play the score by itself, the obstacle of finding a conductor and performers who want to play unusual and "avant-garde" music would be avoided. | The idea of UPIC system goes back to 1953-54, when Iannis Xenakis wrote music for orchestra, using graphic notation for representing musical effects that were too complicated to be specified with traditional staff notation. The work Metastasis (written in 1953-54) makes systematic use of glissandi (continuous transition between two notes of different pitches). Xenakis drew the glissandi as straight lines in the pitch-versus-time domain. The score is written for sixty-one different instrumental parts. The great number of glissandi creates a sound space of continuous evolution comparable to the ruled surfaces and volumes that he used in architecture. Writing the glissandi in sixty-one different orchestra parts by hand was quite arduous. Xenakis had then to transcribe the graphic notation into traditional notation so that the music could be played by the orchestra. At this time, he came up with the idea of a computer system that would allow the composer to draw music. Indeed, graphic representation has the advantage of giving a simple description of complex phenomena like glissandi or arbitrary curves. Furthermore, it frees the composer from traditional notation that is not general enough for representing a great variety of sound phenomena. In addition, if such a system could play the score by itself, the obstacle of finding a conductor and performers who want to play unusual and "avant-garde" music would be avoided. | ||
==A UPIC for the IOS== | ==A UPIC for the IOS== | ||
==References== | |||
<references/> | |||