Ritual & Memory sampler - A Tour of the Music of Stephen T. Pope

This web page contains the images found in the video tour of Ritual and Memory.

Excerpt: Kombination XI, 1978-1990. End of 1st stanza, "it's me"

15 excerpts from 9 compositions with a visual sampler of their scores and the software tools used in their composition and realization

Bat out of Hell, 1983. End of 1st movement

Graphical notations and musical models



Tree view of the score of "4" (1980)




WAKE cell structure



WAKE tangent score



Bat out of Hell machines


Score example from Requiem

Kombination XI, 1978-1990, closing, "...and the thoughts are the birds that fly away and do not return"

This music was composed and notated with the help of several generations of composition languages and graphical editing tools

The Smalltalk-language music systems have gone by the names HyperScore ToolKit (1986-90), the Musical Object Development Environment (MODE,  1990-95), and Siren (1996-2006)



MODE/Siren classes

Wake: Ten Tangents, 1979-80, 9th movement, "AW," climax

WAKE is a graphical score that was realized 1979-80 on the state-of-the art PDP-11-controlled SSSP synthesizer in Toronto





Two versions of the score for the "AW" movement from WAKE (1979)

Kombination XI, 1978-1990, 3rd movement, magic sentences

Simple notation editors in the HyperScore ToolKit (1986-90)





















Editors from the HyperScore Toolit (1986-90)

"4" Ballet Music, 1980-82. 1st part, rhythmic study

Tools from the Musical Object Development Environment (MODE, 1990-95)











MODE editors, scores, and LPC voice processing tools (1990-95)

Requiem Aeternam Dona Eis, 1984/5. Variation on "Lux Aeterna"

MODE 1992







Screen, snd browser, TRTree browser from MODE (late 1990s)

 Late 1990s Siren applications in the Squeak version of Smalltalk











Squeak score browser, mixed screen shots (1996-2000)

Day,  1986. Noon-time dance

Recent (2005) Siren tools in VisualWorks Smalltalk





Siren 7.X screens (2003-present)

CSL C++ interfaces for analysis/synthesis 2003-2006







CSL and FMAK Screens: Qt GUI on FM, FMAK testing GUIs

AllGatesAreOpen, 1992-3. New language for prepositional phrases

Early (1980-83) graphical tools in the music shell









Mshell mock-up, screen shots (1980-83)

Expert Mastering Assistant post-production tools, 2003



EMA GUI

CSL client/server framework, 2004



CSL overview

Eternal Dream, 2002-4. Transition between dimensions

Composing with the "ARA" LISP expert system (1982-85, Bat out of Hell) consisted of building a language and rule base for a musical piece



ARA Screen shot

All Gates Are Open, 1992-3. Alternative active/passive voice

In the DoubleTalk system (1984-87, Requiem) music was described using data flow of objects in logic-marked Petri networks





DoubleTalk tools (1984-87)

SuperCollider interactive installation control panel (2001, Sensing/ Speaking Space)



SuperCollider GUI for SeSpSp

Video Excerpts

Eternal Dream, 2002-4. 4th movement finale, video remix by STP of sources by Erik Pauser and Johan Söderberg

Leur Songe de la Paix, 2001-2. Opening of part 2, video by R. Lane Clark

Leur Songe de la Paix, 2001-2. Middle of part 3, video by R. Lane Clark

"4" Ballet Music, 1980-82. Postlude pas de deux

Diskography


Many, many thanks to:

New York (1972-77): Richard Factor, Anthony Agnello, Jon Paul, Jeff Sasmor, Bob Moog, Bernie Hutchins

Vienna (1977-80): Dieter Kaufmann, Roman Haubenstock-Ramati, Peter Mechtler, German Pizzinini, Günter Kahowez

Paris (1978-80): Gerald Bennett, Ben Bernfeld, Dimitri Iatropoulos, Andy Moorer, Maeve and Jean-François Guesdon, Didier Roncin, Neil Rolnick

Toronto (1979-80): Bill Buxton, Sanand Patel, Guy Fedorkow

Salzburg (1980-86): Klaus Ager, Cesar Bresgen, Irmfried Radauer, Peter Zinterhof, Michael Meyer, Drago Druskoviç, Hajo Adamer, Ingeborg Eva de Fontana-Müller

San Diego (1983): F. Richard Moore, D. Gareth Loy

Munich (1983-86): Jan Witt, Michael Uhlenberg, Richard Cole, Iris Wagner, Dennis Bzowy, Georg Heeg, Stephan Kaske

Palo Alto (1986-92): Adele Goldberg, David Leibs, Duane Bay, Russ Pencin, L. Peter Deutsch, John Chowning, Tovar, Jay Kadis, Fernando Lopez-Lezcano, Patte Wood, John Strawn

Amsterdam (1990-91): Michel Waisvisz, Frank Balde, Tom de Meyer, Zbigniew Karkowski, Russell Haswell

Stockholm (1992-93): Lennart Fahlén, Yngve Sundblad, Lars-Gunnar Bodin, C. M. von Hausswolff, Leif Elggren, Erik Pauser, Johan Söderberg, Olof Thiel, Peter Lundén

Berkeley (1993-96): David Wessel, Adrian Freed, Craig Harris, Thom Blum, Doug Keislar, Guy Garnett

Santa Barbara (1996-2006): JoAnn Kuchera-Morin, Curtis Roads, Shelly Vizzolini, Alberto de Campo, Xavier Amatriain, Alex Kouznetsov, Frode Holm, Chandrasekhar Ramakrishnan, James McCartney

Berlin (2000): Folkmar Hein, Axel Roebel, Martin Supper, Florian Hecker, DAAD

Thank you Angels for Barbara Fields



As to why I do this, I can only paraphrase Joseph Campbell,

“Those who have heard the rhythms and hymns of the angels,

who have understood any of the words of the angels,

will try to recite these hymns in such a way that the angels will be attracted.”



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