George Perle’s Twelve–Tone Tonality: some developments for CAC using PWGL

This paper presents a description and some developments on Perle’s theory and compositional system known as Twelve-Tone Tonality, a system that, because of its characteristics and fundamentals, is currently associated with Schoenberg dodecaphonic system. Some research has been made in the last few decades in order to develop his model in a Computer Assisted Composition (CAC) environment. After some efforts in order to analyse these prototypes, we realize that in general they were discontinued or outdated. A three-scope proposal is so outlined: Firstly, to simplify the grasp of a system that presents an easily understandable starting premise but afterwards enters a world of unending lists and arrays of letters and numbers; Secondly, to present the implementation process already started using PWGL [1] (see Laurson, 1996; Laurson, 2003; Laurson, 2009). Finally, the model is applied in a short original compositional work, and it is presented and analysed emphasizing the standpoints properties of the system. Some further considerations were made regarding the continuity of this project where the construction of a dedicated PWGL library of Perle’s model reveals a pre-compositional necessary tool. PWGL software was selected due to its specific fitting features: it is based on Common Lisp - perfectly powerful and suitable to process lists of integers — and it is specialized in CAC

A peça musical como uma instância : ensaios acerca da análise musical assistida por computador

Orientadores: Jônatas Manzolli, Moreno AndreattaTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes e Université Pierre et Marie Curie (França)Resumo: A partir de uma interpretação musicológica do conceito científico de "modelagem e simulação", esta tese apresenta uma abordagem para a análise musical assistida por computador onde partituras são reconstruídas a partir de processos algorítmicos e então simuladas através do uso de diferentes valores paramétricos resultando na geração de variações chamadas "instâncias". Investigar uma obra musical empregando "modelagem e simulações" significa buscar a sua compreensão através da uma atividade "recomposição", aproximando assim perspectivas analíticas e criativas. Esta abordagem foi aplicada em três casos de estudo: uma técnica isolada, a "multiplicação de acordes" usada pelo compositor francês Pierre Boulez (1925-2016) que foi explorada através do prisma formado pelas teorias de H. Hanson, S. Heinemann e L. Koblyakov e sua respectiva implementação computacional; a peça "Spectral Canon for Conlon Nancarrow" (1974) escrita pelo compositor americano James Tenney (1934-2006) na qual a simulação computacional a partir de diferentes valores paramétricos é levada às últimas consequências quando um "espaço de instâncias" é criado e estratégias de visualização são esboçadas; e por último a peça Désordre (1985), o primeiro estudo para piano escrito pelo austro-húngaro György Ligeti (1923-2006) onde os conceitos de "tonalidade combinatória" e "decomposição de um número inteiro (duração) em dois primos" são usados para maximizar o potencial de gerar diferentes variações através do respectivo modelo computacionalAbstract: From a musicological interpretation of the scientific notion of "modeling and simulation", this thesis presents an approach for computer-aided analysis where musical scores are reconstructed from algorithmic processes and then simulated with different sets of parameters from which neighboring variants, called instances, are generated. Studying a musical piece by modelling and simulation means to understand the work by (re)composing it again, blurring boundaries between analytical and creative work. This approach is applied to three case studies: an isolated technique, Pierre Boulez¿ (1925¿2016) Chord Multiplication, which was explored through the prism formed by the theories of H. Hanson, S. Heinemann and L. Koblyakov and by its computational implementation; the piece Spectral Canon for Conlon Nancarrow (1974) by the American composer James Tenney (1934¿2006) to which the computa- tional simulation from different sets of parameters was taken to its ultimate consequences when a "space of instances" is created and strategies of visu- alization and exploration are devised; and finally D ?esordre (1985), the first piano ?etude written by Austro-Hungarian Gyo ?rgy Ligeti (1923¿2006) in which the concepts of "combinatorial tonality" and "decomposition of a number (duration) into two prime numbers" were used to maximize the potential that a model has to produce different variations of the original pieceDoutoradoMúsica, Teoria, Criação e PráticaDoutor em Música2014/08525-8FAPES