ABSTRACT
Philippe Manoury’s Jupiter for fl ute and computer broke new ground in using real-time pitch tracking and score following to correlate computergenerated sound with a live performer. Many novel approaches to real-time computer music were developed in the course of creating the work. Jupiter explores these resources, but more importantly, builds them into a work of orchestral scope. Its half-hour span develops a deeply interconnected network of musical relationships between fl ute and computer. Th e computer acts as conductor, musicians, and instruments in an invisible and disembodied but highly responsive digital orchestra, whose instruments and interactions with the fl utist are carefully orchestrated. Th e conceptual distance between the fl ute line and the computer’s sounds varies tremendously: sometimes the computer is very close to the fl ute in timbre, gesture, and temporal behavior; at other times it is very distant. Oft en diff erent simultaneous layers within the computer part operate at diff erent distances from the fl ute.
