Using the “Max/Msp/Jitter” environment in the creative practice of a composers of the XX–XXI centuries

Abstract

This article discusses one of the widely used instruments that in recent decades has become the world standard in the field of visual programming for creating works in various directions of electroacoustic music. Today, mastering Max/MSP/Jitter is a mandatory part of the educational programs of the largest centers of electroacoustic (akusmatic) music, sound design, music computer science, multimedia art, research and experimental studios of electronic music. The author provides a history of the development of this environment, the principles of its organization, and ways of applying it in practice. The article analyzes the features of Max/Msp/Jitter that allow musicians and multimedia artists to embody the boldest artistic intentions, creating works based on new compositional approaches such as stochastic processes, cellular automata, genetic algorithms, etc., using a wide range of means to embody their ideas. This includes synthesis and sound processing, working with video and images, 3D graphics, physical modeling, as well as various devices such as MIDI controllers, sensors, virtual reality systems, projection mapping, etc. The article provides examples of the application of Max/ Msp/Jitter by composers. The compositions of Pierre Boulez “Anthèmes 2”, Lamberto Coccioli “Touch”, Karlheinz Essl “Lexicon- Sonate” are considered.