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Improvisatory music and painting interface

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dc.contributor.advisor Tod Machover. en_US
dc.contributor.author Solís García, Hugo, 1976- en_US
dc.contributor.other Massachusetts Institute of Technology. Dept. of Architecture. Program in Media Arts and Sciences. en_US
dc.date.accessioned 2005-09-27T18:13:51Z
dc.date.available 2005-09-27T18:13:51Z
dc.date.copyright 2004 en_US
dc.date.issued 2004 en_US
dc.identifier.uri http://hdl.handle.net/1721.1/28766
dc.description Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2004. en_US
dc.description Includes bibliographical references (p. 101-104). en_US
dc.description.abstract (cont.) theoretical section is accompanied by descriptions of historic and contemporary works that have influenced IMPI. en_US
dc.description.abstract Shaping collective free improvisations in order to obtain solid and succinct works with surprising and synchronized events is not an easy task. This thesis is a proposal towards that goal. It presents the theoretical, philosophical and technical framework of the Improvisatory Music and Painting Interface (IMPI) system: a new computer program for the creation of audiovisual improvisations performed in real time by ensembles of acoustic musicians. The coordination of these improvisations is obtained using a graphical language. This language is employed by one "conductor" in order to generate musical scores and abstract visual animations in real time. Doodling on a digital tablet following the syntax of the language allows both the creation of musical material with different levels of improvisatory participation from the ensemble and also the manipulation of the projected graphics in coordination with the music. The generated musical information is displayed in several formats on multiple computer screens that members of the ensemble play from. The digital graphics are also projected on a screen to be seen by an audience. This system is intended for a non-tonal, non-rhythmic, and texture-oriented musical style, which means that strong emphasis is put on the control of timbral qualities and continuum transitions. One of the main goals of the system is the translation of planned compositional elements (such as precise structure and synchronization between instruments) into the improvisatory domain. The graphics that IMPI generates are organic, fluid, vivid, dynamic, and unified with the music. The concept of controlled improvisation as well as the paradigm of the relationships between acoustic and visual material are both analyzed from an aesthetic point of view. The en_US
dc.description.statementofresponsibility Hugo Solís García. en_US
dc.format.extent 105 p. en_US
dc.format.extent 7051522 bytes
dc.format.extent 7063828 bytes
dc.format.mimetype application/pdf
dc.format.mimetype application/pdf
dc.language.iso en_US
dc.publisher Massachusetts Institute of Technology en_US
dc.rights M.I.T. theses are protected by copyright. They may be viewed from this source for any purpose, but reproduction or distribution in any format is prohibited without written permission. See provided URL for inquiries about permission. en_US
dc.rights.uri http://dspace.mit.edu/handle/1721.1/7582
dc.subject Architecture. Program in Media Arts and Sciences. en_US
dc.title Improvisatory music and painting interface en_US
dc.type Thesis en_US
dc.description.degree S.M. en_US
dc.contributor.department Massachusetts Institute of Technology. Dept. of Architecture. Program in Media Arts and Sciences. en_US
dc.identifier.oclc 59824586 en_US


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