Audio-scores, a resource for composition and computer-aided performance

0044 English OPEN
Bell, Jonathan;
  • Subject: M1

This submission investigates computer-aided performances in which musicians receive auditory information via earphones.\ud \ud The interaction between audio-scores (musical material sent through earpieces to performers) and visual input (musical notation) changes the tr... View more
  • References (41)
    41 references, page 1 of 5

    Two significant influences....................................................................................31 2.1 A comparative study................................................................................................ 31 2.2 Feldman and Ferneyhough, two antitheses sharing common values inherited from the post-war avant-garde ............................................................... 32 2.3 Relationships between material, duration and form ................................... 33 2.3.1 Feldman and the notion of scale................................................................................. 34 2.3.2 Ferneyhough's perpetual short-term articulation.............................................. 36 2.3.3 Conclusion ............................................................................................................................ 36 2.4 Generated/found material .................................................................................... 37 2.5 Compositional systems and free choice............................................................ 38 2.5.1 Ferneyhough's approach ............................................................................................... 38 2.5.2 Feldman's approach......................................................................................................... 40 2.6 Conclusions................................................................................................................. 41

    3 AUDIO-SCORES: A HISTORICAL SURVEY .......................................................43 3.1 Development of the score ...................................................................................... 43 3.2 When notation pushes the limits of what is realisable................................ 43 3.3 Conceiving a click track: Berlioz, Carl Stalling, Emmanuel Ghent ........... 45 3.4 Different Types of Auditory Signals ................................................................... 46 3.4.1 Synchronisation with video.......................................................................................... 46 3.4.2 Synchronisation with fixed-media............................................................................. 47 3.4.3 Synchronisation between performers ..................................................................... 47 3.4.4 Spatial separation ............................................................................................................. 48 3.4.5 Performing without a score.......................................................................................... 48 3.4.6 Microtonality....................................................................................................................... 49

    8 THE WANDERER (2012-2014) ....................................................................... 126 8.1 Introduction ............................................................................................................. 126 8.2 Pre-existing material: main text, passing references ................................ 126 8.3 Representation........................................................................................................ 128 8.4 Pitch material .......................................................................................................... 130 8.4.1 Harmony .............................................................................................................................130 8.4.2 Counterpoint .....................................................................................................................133 8.5 Conclusions and new perspectives................................................................... 135 8.5.1 A renewal of interest in 'notation-centrism' .......................................................136 8.5.2 Audio-scores as a suitable medium for amateur practice .............................136

    9 ONGOING RESEARCH ........................................................................................ 137 9.1 New forms of notational practices.................................................................... 138 9.1.1 Computer-assisted composition (composition-centred practice).............138 9.1.2 Screen-scores (performance-centred practice).................................................142 9.2 Ongoing research on audio-scores ................................................................... 146 9.2.1 Immersive Theatre: an underlying motivation..................................................146 9.2.2 First attempts with iVideoShow ................................................................................147 9.2.3 A central computer replaced by multiple communicating devices ...........148 9.2.4 OS X, iOS, or Web applications?.................................................................................149

    Appendix 1: List of submitted works.............................................................. 199 1. Three Painted Walls and a Marble Ground (DVD 1 Track 1) ...............................199 2. Percussion Quartet (DVD1 Track 2) ...............................................................................199 3. Etude de Synchronisation (CD1 Track 1) .....................................................................199 4. Body Factory (DVD1 Track 3)...........................................................................................199 5. Lasciato Hai Morte (CD 1 Track 2) .................................................................................199 6. Fives Pieces for Voices and Electronics (CD1 Track 3-7)........................................199 7. Flute Guitar and Piano (DVD 1, track 4).......................................................................200 8. Piano Quintet (CD 1, Track 8) ...........................................................................................200 9. The Wanderer ..........................................................................................................................200

    _________ (1919) Introduction to Mathematical Philosophy, George Allen & Unwin, London, UK. Reprinted, John G. Slater (intro.), Routledge, London, UK, 1993.

    __________ (1903/1996) The Principles of Mathematics (Reissue). 2nd edn. New York: W. W. Norton & Company.

    Schaeffer, P. (1977) Traité des objets musicaux: Essai interdisciplines. Paris: Edition du Seuil.

    Schnell, N. (2015a) Cosima@Tangible and Embedded Interfaces 2015, conference held at Stanford University in January 2015. Available at: http://ismm.ircam.fr/cosima-tei15/#more-1009 [Accessed: 7 August 2015].

    Schnell, N. (2015b) Soundworks, Available at: https://github.com/collectivesoundworks/soundworks [Accessed: 20 August 2015].

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