screening the score: decibel's computer controlled performance environment using the laptop and...

Screening the score: Decibel's computer controlled performance environment using the Laptop and iPad

lindsay vickery and stuart james

Western Australian Academy of Performing Arts

Edith Cowan University, Australia

Transit of Venus (2009) Lindsay Vickery

1 2 3 4 5 6 7 8 9

The performers are also given a pitch set to base their improvisation upon.

FREE SECTION

player 1

player 2

player 3

Glissando between all notes

Example Performance

Transit of Venus (2009) is a work for three performers with multiple independent click tracks and a projected graphical score. In addition to following the

tempo of their individual click track , each play must also follow a set of symbols that dictate the direction of their dynamics, changes in the texture that they

play, the pitch class resources that they should use to realize the score, and finally the period of time over which these changes should occur.

Dynamics are marked in relative terms, the as modifications that should occur to the dynamic of the

sound that is currently being made: for example if the performer in playing ff a Crescendo marking

would indicate to play more loudly. There are five dynamic modifiers:

> Decrescendo; <> Crescendo/Decrescendo; - Remain at the same volume;

>< Decrescendo/Crescendo; < Crescendo.

The Textures indicated are also arranged in a continuum. This means that if the performer is

performing a single tone and receives the indication add vibrato, they should transition from the first

texture to the second over the indicated time-period. The full continuum is as follows: 1. Silence, 2.

Coloured Silence (inharmonic sounds such as hissing and buzzing), 3. Tone no Vibrato, 4. Tone

with Vibrato (Less than a semitone), 5. Tone with trill (one to two semitones), 6. morse-code

rhythms 7. Matrix (multiple lines of Discrete Tones/Non-Periodic Points), 8. Arpeggios, 9. Free (a

chaotic “gaseous” state in which all note-forms and noises have escaped each others gravity).

Below is a representation of an example performance of "Transit of Venus", showing the order of material presented to players and

interuptions of free sections upon the players' performance.

During the "free sections", all three performers continuum and metronomic pulse is suspended. During these periods each performers should follow

the note-form indications shown on the right of the screen. The note-forms are as follows:

Distorted NoteLowest Note Highest Note

Ghost Note

Beginning in the 1950s, a range of new paradigms emerged for the presentation of musical notation to live performers. A concerted effort was made by some composers to liberate the score from the manacles of left-right/up-down orientation. These investigations with traditional paper scores, included:

Iannis Xenakis’ Duel (1959) for two orchestras, that delegated the ordering of musical materials to the conductors and calculated their strategic success according to game theory.

Griffiths, P. (1975). Logic and Disorder. The Musical Times, 116(1586), 329-331 p 330

Morton Feldman’s Intermission 6 (1953), a score permitting the performer(s) “mobile” choice in ordering of the musical materials;

Hirata, C. C. (1996). The Sounds of the Sounds Themselves: Analyzing the Early Music of Morton Feldman. Perspectives of New Music, 34 (1), 6-27. p 9

Earle Brown’s December 1952, a g r a p h i c a l s c o r e c a p a b l e o f performance in any orientation; Brown, E. (1986). The Notation and Performance of New Music. The Musical Quarterly, 72(2), 180-201. p

193

Significant obstacles to the development of “real mobility” in notated music remained insoluble in the paper medium.

•  the space-inefficient nature of the paper-score imposes an inverse relationship between the ease of mobility and the amount of information that could be provided for performer(s).

•  coordination of multiple performers in mobile works required either the predetermination of a pathway through the work’s materials or unwieldy mechanical methods.

•  coordination with other media especially fixed media – tape, film, video – was potentially imprecise.

•  coordination of temporal proportions

•  the performer could “cheat” by predetermining an ordering form the work.

•  continuous transformation could not be represented

Technology and ideology are inextricably intertwined… old artistic forms pushing against their own boundaries and using procedures which seem to point towards a new technology that will be able to serve as a more “natural” and appropriate “objective correlative” (that) the old forms endeavoured to render by means of their “excessive” experiments. Zizek, S., 2000. The Art of the Ridiculous Sublime. Seattle Washington, Walter Chapin Centre for

the Humanities: Occasional Papers 1, University of Washington Press. p.39

One general effect of the digital revolution is that avant-garde aesthetic strategies became embedded in the commands and interface metaphors of computer software. In short, the avant-garde became materialized in a computer.

Manovich, L. (2001). The Language of New Media. Cambridge, Mass.: MIT Press. p 258

The computer provided a more natural medium and allowed a new-found actual mobility for the musical notation, as a result of improvements in:

•  graphics processing capacity •  larger, lighter and cheaper screens •  data projection (and quieter) •  networking capabilities

(Computers) provide the most plastic representational medium we have ever known, and they enable novel forms of communication. (…) This plasticity in combination with the dynamic character of computation makes possible new interactive representations and forms of communication that are impossible in other media.

Hollan, J. D., (1999). Human-computer interaction. In R. A. Wilson and F. C. Keil, editors, Encyclopedia of the Cognitive Sciences. 379-381, MIT Press, 1999. p. 379

COMPUTERS AS A NOTATION INTERFACE The computer afforded a practical, pragmatic medium for presenting information to the performer, and the possibility of coordinated algorithmic and interactive control of multiple performers and multiple media.

Paradigms for the presentation of notation to live performers

MEDIUM COMPOSITION PERFORMER SCORE

screen-‐score

generative immanent/

real-‐time score transformative interactive

permutative

sequential interpretative segmented/

scrolling score

paper-‐score permutative explorative mobile score

sequential interpretative traditional score

a. scrolling score and fixed playhead a. generative score traditional notation

> > > >

p mp f

b. fixed score and swiping playhead c. generative score separated parameters

pitch dynamic duration ornament

c. permuative score c.transformative score

1. 3. 4. 5. 2. layer 1.

p q e x > .<

layer 2.


> > > >

p mp f




1. 3. 4. 5. 2. layer 1.

p q e x > .<

layer 2.

The Scrolling Score

The scrolling score moves a continuous notational graphic from left to right, allowing performers to execute events as they strike a fixed ‘playhead’. It is also possible to swipe the playhead across the score. Such an arrangement limits the amount of graphical material that is visible to a single page or “screen”.

1. 2. 3. 4. 5. 6. 7.

1. 2. 3. 4. 5. 6. 7.

Traditionally

Spaced Notation

c

C3B2

A2

G2

F2E2

C2

D2

Proportionally

Spaced Notation

Proportional

Notation

The Scrolling Score is best suited to works that are notated proportionally, that is the time durations of the musical events are proportional to the spacial lengths of their graphical representations.

The performative, and potentially structural, implications of computer control derive from the nonlinear, hypertextual nature of computational capacities and are musically manifested in three principal organisational procedures:

• permutative: allows the presentation of materials to the performer in an indeterminate order • transformative: allows a fixed score to be altered in real-time

• generative: constructs components of the score in real-time.


> > > >

p mp f




1. 3. 4. 5. 2. layer 1.

p q e x > .<

layer 2.


> > > >

p mp f




1. 3. 4. 5. 2. layer 1.

p q e x > .<

layer 2.


> > > >

p mp f




1. 3. 4. 5. 2. layer 1.

p q e x > .<

layer 2.

COMPOSER TITLE YEAR PROGRAMMER YEAR COMPOSER TITLE YEAR PROGRAMMER YEAR

Cage, John Radio Music (1964) 1964 Lindsay Vickery 2011 Julian Day Beginning to Collapse 2011 Lindsay Vickery 2011

David Kim-Boyle Point Studies #1 2012 David Kim-Boyle 2012 Lindsay Vickery Hunting Pack 2011 Lindsay Vickery 2011

Cage, John Variations IV (1963) 1963 Stuart James, Aaron Wyatt 2012 Lindsay Vickery Night Fragments 2011 Lindsay Vickery 2011

Cage, John Variations VI (1966) 1966 Stuart James, Aaron Wyatt 2012 Lindsay Vickery Hunting Pack 2011 Lindsay Vickery 2011

Cage, John Variations VII (1967) 1967 Stuart James, Aaron Wyatt 2012 Buckett, Austin Mothlight 2011 Lindsay Vickery 2011

Cage, John Variations III (1962) 1962 Stuart James, Aaron Wyatt, Lindsay Vickery 2012 Earle Brown December 1952 1954 Lindsay Vickery 2009

Cat Hope Possible Stories of Harry Power 2010 Kynan Tan 2010 Cat Hope and Lindsay

Vickery The Talking Board 2011 Lindsay Vickery 2011

Cage, John Variations I (1958) 1958 Stuart James, Aaron Wyatt, Lindsay Vickery 2012 Cat Hope Juanita Neilsen [world

premiere] 2012 Aaron Wyatt 2012

Cage, John Variations II (1961) 1961 Stuart James, Aaron Wyatt, Lindsay Vickery 2012 Cat Hope Liminum 2012 Lindsay Vickery 2012

Lindsay Vickery EVP (2012) 2012 Lindsay Vickery 2012 Lindsay Vickery ghosts of departed quantities 2010 Lindsay Vickery 2010

Karlheinz Stockhausen Adieu 1966 Lindsay Vickery 2010 Mauricio Kagel Prima Vista 1962-3 Lindsay Vickery 2009

Karlheinz Stockhausen Pole 1969 Lindsay Vickery 2010 Karlheinz Stockhausen Klavierstück XI 1956 Lindsay Vickery 2010

Percy Grainger Free Music No. 1 scoreplayer 1936 Lindsay Vickery 2010 Lindsay Vickery antibody 2009 Lindsay Vickery 2009

Cat Hope Kingdom Come 2009 Lindsay Vickery 2010 Lindsay Vickery improbable games 2010 Lindsay Vickery 2010 Cat Hope Wolf at Harp 2010 Lindsay Vickery 2010 Samuel Dunscombe West Park 2011 Samuel Dunscombe 2011 Cat Hope Kuklinski’s Dream 2010 Lindsay Vickery 2010 Lindsay Vickery transit of venus 2009 Lindsay Vickery 2009

Cat Hope In the Cut 2010 Lindsay Vickery 2010 Lindsay Vickery corridors, stairways night and day 2009 Lindsay Vickery 2009

Cat Hope Cruel and Usual 2011 Lindsay Vickery/Sam Gillies 2011 Lindsay Vickery Transit of Venus 2009 Lindsay Vickery 2009

Christopher de Groot Agerasia 2011 Lindsay Vickery 2011 Lindsay Vickery delineate 1 2010 Lindsay Vickery 2010 Cat Hope Longing 2011 Lindsay Vickery 2011 Lindsay Vickery echo-transform 1 2010 Lindsay Vickery 2010 James Rushford Espalier 2012 Stuart James 2012 Lindsay Vickery Ubahn c. 1985 2012 Aaron Wyatt 2012

Lyndon Blue DecaBel – [world premiere] 2012 Stuart James 2012 Lindsay Vickery detritus 2012 Lindsay Vickery 2012

Joe Stawarz Cells (2012) 2012 Stuart James 2012 Agostino di Scipio Texture/Residue Lindsay Vickery 2012

Denis Smalley Threads 1985 Lindsay Vickery 2009 Alvin Lucier Still and Moving Lines in Families of Parabolas No. 1 1972 Lindsay Vickery 2010

Alvin Lucier Ever Present 2002 Lindsay Vickery 2010 Alvin Lucier in memorial stuart marshall 1993 Lindsay Vickery 2010

Thomas Meadowcroft Pretty Lightweight 2001 Lindsay Vickery 2011 Anthony Pateras Trio 2012 Stuart James 2012

The Segmented Score Player: The score-player for Denis Smalley’s work Threads (1985) centralizes the control of playback of the audio component, synchronised with an on-screen timer and mobile realisation of Smalley's score, providing the means of precise synchronization.

The Scrolling Score-Player: Earle Brown: December 1952 score-player

The score-player for Mauricio Kagel’s Prima Vista (1962-3) chooses the 25 slides without repetitions and provides the performers with a countdown indicating a varying duration for each page. The available range of durations of the pages is adjustable, allowing the total length of the work to be controlled.

The Scrolling Score: Cat Hope’s In the Cut (2009)

the score

the sonogram

135cm

7m 11s

player 1

player 2

player 3

player 1

player 2

player 3

pitch

duration

dynamics

The Permutative Score: Vertical and Horizontal Implications

Permutation of all parts simultaneously results “vertical” changes in the performed materials, Asynchronous permutation of the parts, given that they are sufficiently distinct independently, results in “horizontal” or layered changes.

Score-player for Karlheinz Stockhausen: Klavierstück XI (1956)

PERC. I

CONDUCTOR

PERC. II PERC. IIII

Woodwind Brass Strings Pizz. Str

Screen 1

Screen 2 Screen 3

Screen 4

Screen 7

Screen 6

Screen 5

The Networked Screen Score: Performance set-up for Stockhausen’s MIXTUR (1964) using networked computers to project the scores synchronously on 6 screens. Such a method could also automate the electronic component (Ring-modulation of the acoustic instruments) and perhaps also the conductor via click-tracks.

In my works Antibody (2009) (above) and Improbable Games (2010) (below) sub-structural units are permutated to create novel passages of music in real-time.

Measure 11 2 12 20 27 21 24 20 - 27 29 1 14 8 10 - 19 9 10 4 15 6 22 27 13 7 3 1 - 9 5 23 18 frag5

Duration 6 17 19 5 24 4 27 8 26 1 10 4 10 16 3 2 15 11 22 23 25 21 7 9 18 20 9 13

Continuity 3 Continuity 2 Continuity 1

Schematic representation of a performance of Antibody

Schematic representation of a performance of Improbable Games

The independent manipulation of even smaller units, the parameters that are combined to form musical events is also possible in digital media. This approach is exploited in Gerhard Winkler’s Hybrid series (1991-) in which the glissando, string position, bow pressure and dynamics are graphically conveyed to the performer in real-time.

Winkler, G., (2010) ‘The Real-Time-Score: Nucleus and Fluid Opus’, Contemporary Music Review, 29: 1, pp 89-100

convention of reading a score from left to right, but the continuousrepresentations of playing symbols (e.g. scrolling graphics, sliders, flashing lightsand colours) convey the impression of moving into the depths of the score. Insome works I have even shortened the frequency of notational changes to a speedwhere it becomes nearly impossible to follow them all: in these cases themusicians have been instructed that the arising stress, or even frustration, is a partof the piece. This adds a certain theatrical aspect to the execution of the Real-Time-Score.

Whatever the case, the challenge for the musician to bring together all notatedmaterial ‘in time’ produces irregularities in rhythm, phrasing and musicalarticulation that can be used as a substitute for the exact notation of complexrhythms. The graphic simplicity of the player score is necessary to be readable inreal-time, and should not be misinterpreted as an indication of simplicity in theoutput: often the result is very complex—and intentionally so!

Pre-notated Score-Elements: New Combinations

A final and special case of the playing score is the use of pre-notated fragments oftraditional notation. In certain sections of my piece ‘Hybrid VII (FractuReflex)’ foraccordion and interactive live electronics, small particles of pre-notated music,which can be studied in advance by the musicians, are projected on the screen.

Figure 3 Example of glissando notation; ‘Hybrid II (NetWorks)’ for viola and interactivelive electronics (1996/2001).

Contemporary Music Review 93

Downloaded By: [Edith Cowan University] At: 05:10 29 September 2010

Gerhard Winkler: Hybrid II (1996/2001)

Transformation

Transformation differs from permutation in that it acts upon an “original” object to which alterations occur over time. In this sense transformation is related to the musical concept of development, as permutation is related to “concatenation” or “block” forms. The notion of development is expanded by digital transformation in that the alterations need not be predetermined: they may act uniquely on the materials in each performance.

Stockhausen’s Adieu (1966) ScorePlayer

Transforma)on

In David Kim-Boyle’s tunings (2006) for cello and computer, “real-time blurring and other distortion techniques” are employed to reveal only portions of an underlying score.

Kim-Boyle, D., (2006). “Real-time generation of Open-Form Scores”, Proceedings of Digital Art Week Symposium,

Zürich: Die Eidenössische Technische Hochschule (ETH)

Lindsay Vickery’s Transit of Venus (2009), utilises a nonlinear score, live sound processing and independent click tracks to control a guided-improvisation by the players. In the score-player, functions of the traditional score, where performance indications are normally vertically unified.

Transit of Venus (2009) Lindsay Vickery

1 2 3 4 5 6 7 8 9

The performers are also given a pitch set to base their improvisation upon.

FREE SECTION

player 1

player 2

player 3

Glissando between all notes

Example Performance

Transit of Venus (2009) is a work for three performers with multiple independent click tracks and a projected graphical score. In addition to following the

tempo of their individual click track , each play must also follow a set of symbols that dictate the direction of their dynamics, changes in the texture that they

play, the pitch class resources that they should use to realize the score, and finally the period of time over which these changes should occur.

Dynamics are marked in relative terms, the as modifications that should occur to the dynamic of the

sound that is currently being made: for example if the performer in playing ff a Crescendo marking

would indicate to play more loudly. There are five dynamic modifiers:

> Decrescendo; <> Crescendo/Decrescendo; - Remain at the same volume;

>< Decrescendo/Crescendo; < Crescendo.

The Textures indicated are also arranged in a continuum. This means that if the performer is

performing a single tone and receives the indication add vibrato, they should transition from the first

texture to the second over the indicated time-period. The full continuum is as follows: 1. Silence, 2.

Coloured Silence (inharmonic sounds such as hissing and buzzing), 3. Tone no Vibrato, 4. Tone

with Vibrato (Less than a semitone), 5. Tone with trill (one to two semitones), 6. morse-code

rhythms 7. Matrix (multiple lines of Discrete Tones/Non-Periodic Points), 8. Arpeggios, 9. Free (a

chaotic “gaseous” state in which all note-forms and noises have escaped each others gravity).

Below is a representation of an example performance of "Transit of Venus", showing the order of material presented to players and

interuptions of free sections upon the players' performance.

During the "free sections", all three performers continuum and metronomic pulse is suspended. During these periods each performers should follow

the note-form indications shown on the right of the screen. The note-forms are as follows:

Distorted NoteLowest Note Highest Note

Ghost Note

Schematic representation of a performance of Transit of Venus

Sonograms of two performances of Transit of Venus

What then renders these forces visible is a strange smile (or, First Study for Figures atthe Base of a Crucifixion) (2007-08) for solo trumpetGeneration

In a Generative work, algorithmic or interactive generative processes are employed to construct components of a digital score in real-time. This approach opens broad range of structural possibilities often linked to a narrative or dramatic concept. Although algorithmic processes may be predetermined in a generative work, the outcome, in the form of a score or sonic product is completely undefined prior to the performance. For this reason, this form of “dynamic scoring” is sometimes euphemistically referred to as “extreme sight reading”.

Freeman, J., (2008). Extreme sight-reading, mediated expression, and audience participation: Real-time music notation in live performance. Computer Music Journal, 32(3), 25–41.

In Polish composer Marek Chołoniewski’s Passage (2001), a conductor directs a silent performance of hand gestures by the performers, which are measured by changes in luminosity measured by light sensitive resistors mounted on their music stands.

The recorded gestural data in turn generates a scrolling score that is subsequently performed by the ensemble.

Chołoniewski, M., (2001). “Passage”, Interactive Octet for Instruments and

Computer, http://www.studiomch.art.pl/.

Cat Hope’s Possible Stories of Harry Power (2010) Section 1: the graphical notation score initially presented to the musicians.

Rendering 1: Computer rendering of the performer’s realization of Section 1

Rendering 2: Computer rendering of the performer’s realization of Rendering 1

Section 2: final graphically notated section

Ned Kelly Ellen Kelly Harry Power

Score components that can be presented in a Screen-Score

!"#$%&'&()"

*"+"#'&()"

&#'+,-.#$'&()"

$.&(-

/.#0

-%,"12!'#'$"&"#,

,"!'#'&"12!'#'$"&"#,

,(+*3"2")"

+&

,&"'142+.&"2!#.1%5&(.+

&"$!.6!%3,"

$.)"

$"+&

!7#',"

$"3.14

&"8&%#"

)(9#'&.6&#"$"3.

,5#.33(+*2,5.#"

,"*$"+&"12,5.#"

FORMAL IMPLICATIONS Computer coordination allows for: • a radical redistribution of the relationships between the performers, the score, the digital components and the audience.

• structural decisions may arise from any component of the performance environment and may be the result of interaction and improvisation as well as predetermination

• greater distinction between voices and layers in a musical work through expansion of timbral, dynamic, spatial and temporal qualities both “vertically” and “horizontally”.

• Sampling provides a pathway to unprecedented referentiality to sound objects outside the performance model.

• Networking and telepresence expand the potential of these possibilities beyond the specific environment of the performance model.

These potentials provide the basis for significant expansion of the structural possibilities available to the composer.

• Poly-structure Permutative, generative and transformative strategies can be independently employed a single work through computer coordination. The combination of formal Polyphony – poly-structure • Interleaved Polystructure Structure • Multiple versions

Additive and Subtractive Structures Condensed Sonogram of Lindsay Vickery’s Ghosts of Departed Quantities (2010) showing the progressively increasing number and decreasing size of “holes” cut into the both the electronic and acoustic components of the performance.

• Multiple versions I believe that the experience of “open form,” of the “work in progress”, of the “unfinished” may only contribute to recovering an ephemeral, lucid, and transitory dimension of musical experience – setting aside all aspiration to an idea of eternity – and educating us instead to think of the work as an agglomeration of events, without any prearranged center; events which nonetheless find, locally and sometimes surprisingly, their connections, their necessities, and, occasionally, their beauty.

Berio, L. (2006). Remembering the Future. Harvard University Press, Cambridge. pp. 97-98

Traditional “Classical” acoustic performance model (left) and the Computer controlled performance model (right). In the computer controlled model: • the performers may interact with the computer via hardware interface(s); • the acoustic performance itself may be used as an interface through computer analysis; and • the audience may interact with the computer, playing a role in defining the performance.

score

audio synthesisperformer(s)

acoustic performance

audience

score

computer coordination

performer(s)


audio processing


audience

The screen-score as a component of a computer-controlled performance environment

The invention of the paper score provided composers with unprecedented control over the coordination of large musical forces and structures. However, in the last fifty years many composers have pushed the capabilities of the paper score to their logical limits. Technological “upgrades” to mobile form works could be considered in the following circumstances:

• the work can still be performed according to the composer’s intentions

• the original work would operate more “naturally” within a contemporary medium that was not available at the time of composition.

• the “upgrade” significantly improves the performing situation, for example: facilitating more accurate performance or improving the logistical requirements for the work.

Use of the computer as a source of coordination of musical forces provides a new step forward in furthering the development of musical organization and structure. Computer coordination allows for: •  the synchronisation and interaction of performance elements such as the score, performer(s), audio synthesis, acoustic performance, audio processing and audience; •  the permutation, transformation and generation of these elements; •  performer can be restricted from preparing modularity in advance (cheating); •  representation of notational information ranging from individual parameters to an entire work •  representation of continuous transformation •  the instantiation of multiple versions of works; •  coordination temporal proportions •  score and recordings for teaching purposes

Further Reading Aarseth, E. J. (1997). Cybertext: Perspectives on Ergodic Literature. Baltimore, Maryland: Johns Hopkins University Press. Barrett, G. D. and M. Winter, H. Wulfson. 2007. "Automatic Notation Generators." In Proceedings of the International Computer Music

Conference. San Francisco: International Computer Music Association. 1: 25-30. Brougher, K. (2005). Visual Music Culture Visual Music: Synaesthesia in Art and Music Since 1900. New York: Thames and Hudson. Brown, E. (1986). The Notation and Performance of New Music. The Musical Quarterly, 72(2), 180-201. Cage, J. (1970). Form is Language. In R. Kostelanetz (Ed.), John Cage. New York Praeger Publishers.

(1985 ). A Year From Monday. London: Marion Boyars Publishers. Cardew, C. (1961). Notation—Interpretation, etc.. . Tempo (New Series) 58(3), 21-33. Clay, A., & Freeman, J. (2010). Preface: Virtual Scores and Real-Time Playing. Contemporary Music Review, 29(1), 1. Didkovsky, N. (2004). Recent compositions and performance instruments realized in Java Music Specification Language. Paper presented at

the International Computer Music Conference. Didkovsky, N. and Burk, P. L. (2001). Java Music Specification Language: An introduction and overview. Paper presented at the International

Computer Music Conference. Didkovsky, N. & Crawford, L. (2007). Java Music Specification Language and Max/MSP. Paper presented at the International Computer Music

Conference. Didkovsky, N. & Hajdu, G. (2008). MaxScore: Music notation in Max/MSP. Paper presented at the International Computer Music Conference Fourie, P. J. (2010). Media Studies: Policy, Management and Media Representation (Vol. 2). Cape Town: Juta Academic. Freeman, J. (2008). Extreme sight-reading, mediated expression and audience participation: Real-time music notation in live performance.

Computer Music Journal, 32, 25–41. Freeman, J., and Colella, A., (2010) 'Tools for Real-Time Music Notation', Contemporary Music Review, 29: 1, 101-113. Hajdu, G. (2004). Composition and Improvisation on the Net. Paper presented at the SMC’04 Conference Proceedings, IRCAM, Paris. Hanoch-Roe, G. (2003). Musical Space and Architectural Time. International Review of Aesthetics and Sociology of Music, 34(2), 145-160.

Further Reading Haubenstock-Ramati, R. (1976). Notation - Material and Form In B. Boretz & E. T. Cone (Eds.), Perspectives on Notation and Performance

(pp. 96-101). New York: Norton. Hirata, C.C. "The Sounds of the Sounds Themselves: Analyzing the Early Music of Morton Feldman." Perspectives of New Music 34 no. 1

(1996): 6-27. Holzer, D. (2010). A Brief History of Optical Synthesis: a Brief History of Optical Synthesis, from http://www.umatic.nl/

tonewheels_historical.html Kim-Boyle, D. (2005). Musical Score Generation in Valse Proceedings of the 2005 International Conference on New Interfaces for Musical

Expression (NIME05), Vancouver, BC, Canada (2006). Real-Time Generation of Open-Form Scores. In Digital Arts Week Symposium ’06. Eidgenössische Technische Hochschule, Zurich (2010). Real-time Score Generation for Extensible Open Forms. Contemporary Music Review, 29(1), 3 - 15.

Lopes, F. (2010). Oral Presentation: “Õdaiko, A Real Time Score Generator Based on Rhythm”. Sound and Music Computing. Barcelona. Spain Maloney, K. (2005). Sounding Images and Imaging Sounds - Audiovisual Interactivity in Performance. Sightlines 2-27. Manovich, L. (2001). The Language of New Media. Cambridge, Mass.: MIT Press. McClelland, C., Alcorn, M. (2008). Exploring New Composer/Performer Interactions Using Real-Time Notation. In International Computer

Music Conference ’08. Belfast, Northern Ireland Poast, M. (2000). Color Music: Visual Color Notation for Musical Expression. Leonardo, 33(3), 215-221. Rebelo, P., (2010). 'Notating the Unpredictable', Contemporary Music Review, 29: 1, 17 — 27. Sauer, T. (2009). Notations 21. New York: Mark Batty Publisher. Stein, S. A. (1983). Kandinsky and Abstract Stage Composition: Practice and Theory, 1909-12 Art Journal, 43(1), 61-66 Winkler, Gerhard E. (2004). The Real Time-Score. The Missing-Link in Computer-Music Performance. In Sound and Music Computing ’04.

IRCAM. Young, L., & Mac Low, J. (1963). An Anthology of Chance Operations. New York: Jackson Mac Low. Žižek, S. (2000). The Art of the Ridiculous Sublime. Seattle, Washington: University of Washington Press.

screening the score: decibel's computer controlled performance environment using the laptop and...

Education