Animated notation

Somatic lapse by Randy Nordschow

2012-02-24T10:33:00.003Z

'Somatic lapse' is a series of works that uses digital video, in some cases generated in real time, as a score to conduct up to four musicians.

More info about the piece and the composer here:

http://www.nordschow.com/works/somatic.html

This link was sent to me by James Saunders at The Centre for Musical Research in Bath, UK. Thanks!

'Dozen it make you sick?' by Andy Ingamells

2012-02-22T18:55:00.001Z

Palipsest Ensemble perform 'Dozen it make you sick?' by Andy Ingamells

An example of a physically scrolling score:

More info here:
http://andyingamells.com/2011/05/17/dozen-it-make-you-sick/

Don't know why but patents are funny: Computer graphic animation, live video interactive method for playing keyboard music. Inventor: Michael K Moe

2012-02-21T13:16:00.000Z

Patent: Computer graphic animation, live video interactive method for playing keyboard music.
Inventor: Michael K Moe

Abstract

"The present invention provides apparatus for and novel methods of representing the content of a musical score in an animated format that graphically prompts the user of a keyboard instrument The graphic format elucidates features of the score in a way that may also be useful as a supplement to conventional keyboard instruction The animation is displayed on the screen of a computer monitor together with a live video image of the user's hands on a musical keyboard Viewing only the images on the monitor the user guides his fingers to the keys targeted by the animation He is thus able to play the proper keys on the real keyboard without diverting his eyes from the monitor In the preferred embodiment the system provides a real time display of both the score information keyboard and the user's hand placement relative to the keyboard Preferably the display of the musical score includes a note position depicted in a horizontal relationship to the keyboard and includes a temporal indication for the notes."

You can find the patent here: The Patent

Bounce by Dr Robert Davidson

2012-02-08T15:40:00.003Z

Robert Davidson's "Bounce" can be seen and read about (but not heard) here:

http://espace.library.uq.edu.au/view/UQ:258093

and Robert Davidson can be read about here:

http://www.australianmusiccentre.com.au/artist/davidson-robert

http://www.uq.edu.au/music/dr-robert-davidson

Decibel ensemble

2012-02-08T12:28:00.001Z

"Decibel is a new music ensemble based in Perth, Western Australia devoted to performing works that explore the nexus of acoustic and electronic instruments. Pioneering unique electronic score formats and giving electronic music instruments a voice in the acoustic space, Decibel also arrange electronic works for live performance. Decibel are committed to Australian music and emerging Western Australian composers, as well as sharing important international works with Australian audiences."

Their site can be found here:

http://decibel.waapamusic.com/

on their site you can find some relevant research papers free for download(pdf's):

http://decibel.waapamusic.com/category/research/

and videos of some electronic scores that they have performed:

http://decibel.waapamusic.com/category/video/

SCREEN SCORES: NEW MEDIA MUSIC MANUSCRIPTS by dr. Cat Hope and Lindsay Vickery

2012-02-08T12:13:00.000Z

Here is a paper written by dr. Cat Hope and Lindsay Vickery and it can be found here(pdf):

http://decibel.waapamusic.com/wp-content/uploads/2011/10/LVCHICMC11.pdf

"Abstract
This paper examines the screening of music notations
and the impact of this configuration in a live music
performance situation. Before the development of
graphical computing, Traditional music notation, was
rarely shared with the anyone other than other
musicians, composers and analysts; let alone displayed
during the performance. However, some composers
experiment with scores and their visual presence in
performance by employing automated ‘score-players’ or
actual films specifically developed to be interpreted by
musicians. This paper raises some questions and
possibilities for this new way of sharing musical
qualities of composition and performance."

Cat Hope

2012-02-08T11:57:00.000Z

Cat Hope has a website that can be found here:
http://cathope.com
Go directly to the scores section here:
http://cathope.com/scores/

Cat Hope also has a YouTube channel where you can find videos+performances of her scores:
http://www.youtube.com/user/catahope

Akousmetria by Alexander Ness

2012-02-05T15:48:00.001Z

Akousmetria: graphic revision from Alexander Ness on Vimeo.

Alexander Ness has an interesting vimeo channel here:

http://vimeo.com/alexanderness

and his website is here:

http://nesssoftware.com/home/asn/homepage/homepage.html

Áki Ásgeirsson

2012-01-11T15:30:00.001Z

More info, works, recordings etc. can be found on his site here:

http://slatur.is/aki/

Þráinn Hjálmarsson

2012-01-11T15:24:00.002Z

Þráinn is a "Composer residing in Reykjavík at the moment. Studied M.A. in composition at the royal conservatoire den Haag."

All kinds of info, scores, documentation, links etc. can be found on his site here:

http://thrainnhjalmarsson.info/

Christopher Chong - Real-time notation

2011-12-21T14:59:00.002Z

Some examplex of Christopher Chong's real-time notation can be found here:

http://majorc.wordpress.com/category/graphic-notation/

and more about him and examples of his other work here:

http://majorc.co.uk/blog/

Ryan Ross Smith

2011-12-15T18:09:00.001Z

Composer Ryan Ross Smith has a number of animated scores for your viewing pleasure here:

Ryan Ross Smith at YouTube

and all kinds of things on his website here:

http://powplay.me/

He has also started the page animatednotation.com where you can see his scores, links etc.

Animated notation for orchestra from Aphex Twin

2011-12-14T15:54:00.001Z

APHEX TWIN's remote orchestra (full lengh edit) from weirdcore on Vimeo.

Aphex Twin controls an orchestra with animated/active/dynamic notation and sounds

More info at the original post : beyond the beyond

Info kindly pointed out to me by Jesper Pedersen. Thanks!

From the ISEA symposium in Istanbul 2011

2011-09-29T15:26:00.000Z

This september there was a panel event at the ISEA symposium in Istanbul that was called "CHASING GHOSTS: REACTIVE NOTATION AND EXTREME SIGHT READING" and the chair persons were Arthur Clay and Jason Freeman. You can read about the event here:

http://isea2011.sabanciuniv.edu/panel/chasing-ghosts

One of the presenters at the event was our friend Shane Mc Kenna who wrote and presented a short paper on his works with animated notation. The paper can be found here:

http://isea2011.sabanciuniv.edu/paper/animated-graphic-notation

Lars Kynde

2011-07-06T15:48:00.001Z

Danish composer and sound artist, educated at The Royal Danish Academy of Music in Copenhagen and the interfaculty Artscience in the Hague. Lars Kynde performs music with his own alternative instruments and sound installations. His works focus on the mutual influence of the music, the instrument and the notational system. The instruments contain the duality that enables them to be presented both as installations on exhibitions and as instruments on concerts.

Here Toshie Takeuchi, Michael Claus and Lars Kynde are playing his composition "Elephant Heart" (Last 3 minutes):
http://vimeo.com/album/1486021/video/17441228

You can find his website here:
http://www.larskynde.dk/

and his page on Vimeo here:
http://vimeo.com/album/1486021

The piece 'Spam' and software 'kimi' by Luciano Azzigotti

2011-05-09T16:14:00.000Z

Spam is a generative graphic score for 6 performers premeried by thingNY on dec 19th 2009 at University of the Streets.

http://zztt.org/exe/kimi - You can apply to beta test Kimi which is an "Interactive system of dynamic musical scores"

and here -> http://zztt.org/category/work you can find Luciano's website.

Preludium: An Animated Graphic Score by Michael James Olson

2011-02-01T17:41:00.001Z

Preludium: An Animated Graphic Score from Michael James Olson on Vimeo.

"Performers:
Michael James Olson
Yemin Oh
Alex Sellers
Brandon Parham

Preludium is a piece that explores the limits of graphic notation. the instructions given to the performers are as follows:

1. Black = silence
2. white or light hued moving images represent long duration sounds.
3. dark or vibrantly hued moving images represent short duration sounds.
4. pitch is determined by the performers interpretation of the gestural movement of the images.

Each performer or group of performers is given a quadrant of the screen to interpret.

While graphic notation has existed since the middle ages, Preludium seeks to incorporate an impressionistic visual experience within a results-oriented environment, where interpretation is open to both performers and audiences alike."

Thermoscore: A New-type Musical Score with Temperature Sensation

2011-01-23T21:41:00.000Z

A paper by Homei MIYASHITA and Kazushi NISHIMOTO. Read it here:

http://nime.org/2004/NIME04/paper/NIME04_2C03.pdf

ÕDAIKO: A REAL TIME SCORE GENERATOR BASED ON RHYTHM

2011-01-22T16:49:00.002Z

"Õdaiko presents the research and application model of an environment that incorporates live scores generation and live electronic music. Each musician will have a screen displaying the scores to which they have to respond while the composer will be generating the electronic music and the assistant sending data to the score generation engine. The project is developed in maxMSP and Java and the communication is done using OSC. The main musical issue is to create different complexitys/simplicitiys moments along time by emphasizing rhythm tensions, density relationships as well as establishing a non-traditional communication channel between musicians and composer. This model, based on the author’s perspective of music, can be applied for interactive music models."

Read all about it (full thesis), watch the first performance using it and download the software from Filipe Lopes here:

http://www.filipelopes.net/software/odaiko

The Making of Semi-Conducted by P. Hunter McCurry

2011-01-16T18:03:00.000Z

A page discribing "Field" which is "an open-source digital-art-making environment" and his piece "Semi-Conducted" can be found here:

http://www.huntermccurry.com/works/MakingSemi-Conducted.html

There is also plenty of other stuff on his website here:

http://www.huntermccurry.com/works.html

Linux Journal: Generating Music Notation in Real Time

2011-01-16T17:36:00.000Z

An article from 2004 by Kevin C. Baird in the Linux Journal

http://www.linuxjournal.com/article/7560

Real-time composing by the Blind Ear

2011-01-11T19:39:00.001Z

"How does it work?

The Group:
- any number of musicians and one real-time composer
- real-time composer operates the central computer
each musician has a laptop connected to the central computer via wi-fi

Basic flow:
- real-time composer (propagates) sends the music to different players during the performance
- musical notation is displayed in front of each musician on the laptop screen

Synchronization:
- there is no conductor
- players see visual cues showing them which notes they are supposed to play at any given moment.
- to further improve synchronization, each player has his own earphones with a click-track (short sounds clicking the beat)

Shaping the music:
- each performance is based on pre-composed loops (short fragments of music, usually few bar long). Having basic building blocks, composers can free their minds in to create spontaneous, unique compositions. This concept is a blend of composition and improvisation.
- instant feedback is a unique advantage in this kind of music creation. The composer can instantly hear the music, interpretation of players, acoustics of the venue, subtle atmosphere of the moment, and compose the music real time according to all these factors.
- real-time composer can write any message to any player during the performance describing desired dynamics, expression, technique, etc.
- since each click-track is independent, musicians can be purposely desynchronized in order to achieve interesting effects such as phasing, delays, controlled aleatorism, etc.
- in addition to acoustic music instruments, real-time composer also control electronic sounds played through loudspeakers.

Why do we make the music this way?

1. Because we can
2. Because its fun
3. Because it frees our minds
4. Because we want to base our artistic decision on real acoustic feedback and not only on theory.
5. Because it is scalable. We can make music with two players up to a full orchestra.
6. Because we can spatially arrange musicians in any way we want.
8. Because the rehearsal process is greatly simplified.
9. Because it is convenient and flexible. Whoever comes to the concert can play. Its like a classical jam session!

The real-time composition system is an extension of traditional ways of music performance and composition. In every era new technology has guided and shaped the direction of contemporary arts making it easier for artists to communicate their vision. This system gives composers the capability to communicate directly with musicians in real-time, and the flexibility to create a unique soundscape at the click of a mouse."

www.BlindEarMusic.com

David Kim-Boyle

2011-01-11T18:39:00.001Z

The works and writings of Australian composer David Kim-Boyle can be found here:

His website

Heart Chamber Orchestra - a performance by Terminalbeach

2011-01-10T19:54:00.000Z

Heart Chamber Orchestra - Pixelache from pure on Vimeo.

HCO — Pixelache Festival Mar. 28, 2010
Kiasma Theatre, Helsinki, Finland

CFCP Animated Graphic Notation Concert, June 2010 - Shane Mc Kenna

2011-01-07T17:20:00.008Z

Post by Shane Mc Kenna

This was from an event that I organised in Dublin last year. It involved two animated graphic scores projected on opposite walls in the Centre For Creative Practices. The performers were divide into acoustic and electronic instruments, each one following a different score on a given wall. The scores were played five times, separately at the start and began overlapping until the were played simultaneously the fifth time round. It lasted for over an hour with each group able to take a break while the other half performed until the final section where everyone played together.

I used two previous scores for this event and plan to do more work coming up with ways of using old scores to create exiting new performance opportunities. The coming together of musicians from completely different musical backgrounds and with a range of abilities is, for me, one of the most exciting and worthwhile uses of this type of real time notation. Here's a small video to get an idea of the space and setup:

Thanks,

Shane.

--------------------------------
Some audio from the concert:

Listen!

A recording of Shane talking a bit about the event:
Listen!

and a link to the CFCP

http://www.cfcp.ie/

P.I.

Luke Harris, animated score

2011-01-06T17:17:00.004Z

There are also links to more pieces by the same composer.
Animated Graphic Score for Cello from luze duze on Vimeo.

"Piano extensions" by Jason Doell

2011-01-06T15:48:00.001Z

The score for Jason Doell's "Piano extensions"

Andre Vida

2011-01-05T21:05:00.001Z

The animated scores of saxophonist and composer Andre Vida can be found here:

Vidatone - animated scores

WHITE LINES #6 & #7 by Marina Rosenfeld, excerpt from video-score for improvisers, 2003-5

2011-01-05T20:58:00.001Z

WHITE LINES #6 & #7 by Marina Rosenfeld, excerpt from video-score for improvisers, 2003-5 from marina rosenfeld on Vimeo.

" 'WHITE LINES' is an experiment in graphic (musical) notation, that is meant to be legible in real time, in performance, by audiences and performers simultaneously. The work aspires to make the work of reading social, communal, and openly interpretive. Performers on any instrument observe and react to a pair of animated white lines that vary in two ways: they fluctuate in width and they fluctuate in opacity/transparency. These two sets of parameters can then be made to correspond to any number of possible musical parameters--timbral changes, pitch, rhythms, harmonics, dynamics, etc. The squiggly lines can indicate solos, or moves that exceed or violate the regime of the WHITE LINES. For every performance of the work to date, each of these elements have been reconsidered and reformulated with the input of performers. "

Exploring New Composer/Performer Interactions Using Real-time Notation

2011-01-02T17:19:00.001Z

Chris McClelland and Michael Alcorn's slideshow from ICMC 2008

Exploring New Composer/Performer Interactions Using Real-time Notation

View more presentations from chrismcclelland.

Jumping Music on Nintendo DS HD

2010-12-31T18:34:00.001Z

"The realtime-score. A missing-link in computer-music performance"

2010-12-31T18:19:00.000Z

The article "The realtime-score. A missing-link in computer-music performance" by Gerhard E. Winkle can be found here:

http://smcnetwork.org/files/proceedings/2004/P3.pdf

Shane Mc Kenna

2010-12-31T17:53:00.001Z

From his website:

"I am a music maker and music teacher based in Dublin, exploring the use of non-traditional notation to create musical collaboration. After studying music education I completed a masters in music and media technology in Trinty College Dublin. My masters thesis explored the use of graphic notation in music education and in contemporary music resulting in the creation of a system of animated graphic notation for a live performance piece. Animated graphic notation consists of moving shapes and symbols which suggest musical ideas or gestures to be interpreted by a performer or performers. I have continued this work through live performances, installations and workshops with amateur and professional ensembles including the New Dublin Voices and The National Youth Orchestra. I am now looking for opportunities to further explore this exciting new area with ensembles in schools, galleries and performance spaces."

Videos of Shane Mc Kenna's works can be seen here:
His website
&
On Vimeo

"Reading" by Charles Ross

2010-12-31T17:39:00.002Z

‎"Analog" real-time notation from composer Charles Ross

Video recorded by Jesper Pedersen
Performed by Áki Ásgeirsson, Frank Aarnink, Guðmundur Steinn Gunnarsson and Páll Ivan Pálsson

Re-conceptualizing Performance with ‘Active’ Notation

2010-12-31T16:06:00.000Z

The article "Re-conceptualizing Performance with ‘Active’ Notation" by Nigel Morgan and Phil Legar can be found here:

http://www.nigel-morgan.co.uk/active-notations/podcast/media/ICCMR%20Seminar%202007.pdf

(PDF with links to audio and video examples)

Contemporary Music Review, Volume 29 Issue 1 2010 Virtual Scores and Real-Time Playing

2010-12-31T15:48:00.001Z

A whole issue dedicated to Virtual Scores and Real-Time Playing can be found here:

Virtual Scores and Real-Time Playing

Extreme sight-reading, mediated expression, and audience participation: Real-time music notation in live performance

2010-12-31T15:39:00.000Z

A path to this article by Jason Freeman can be found here:

http://portal.acm.org/citation.cfm?id=1403129

Jason Freeman

2010-12-31T15:37:00.003Z

From his website:

"Jason Freeman’s works break down conventional barriers between composers, performers, and listeners, using cutting-edge technology and unconventional notation to turn audiences and musicians into compositional collaborators. His music has been performed by the American Composers Orchestra, Speculum Musicae, the So Percussion Group, the Rova Saxophone Quartet, the Nieuw Ensemble, Le Nouvel Ensemble Moderne, and Evan Ziporyn; and his works have been featured at the Lincoln Center Festival, the Boston CyberArt Festival, 01SJ, and the Transmediale Festival and featured in the New York Times and on National Public Radio. N.A.G. (Network Auralization for Gnutella) (2003), a commission from Turbulence.org, was described by Billboard as “…an example of the web’s mind-expanding possibilities. Freeman received his B.A. in music from Yale University and his M.A. and D.M.A. in composition from Columbia University. He is currently an assistant professor in the School of Music at Georgia Tech in Atlanta."

Audio and video examples and many articles from composer Jason Freeman can be seen and heard here:

His website
&
The Tools section

Leafcutter John - Animated Graphic Score 1 played by York University Ensemble

2010-12-31T05:53:00.000Z

Played by: Violin - Hannah Wells, Viola- Vic Bernath, Cello - Chris Mullender, Double Bass - Vanessa McWilliam, Double Bass - Gareth Taitt, Oboe - Des Clarke, Flute - Megan Fennell, Flute - Ellie Haines, French Horn - Benjamin Gait, Piano - Dave Morecroft, Voice - Anna Goldbeck-Wood.

www.leafcutterjohn.com

P. Hunter McCurry

2010-12-31T05:47:00.000Z

Composer Hunter McCurry's works and writings can be found here:

His website

Animated Graphic Scores for Quartet (Luke Harris)

2010-12-31T05:42:00.000Z

Animated Graphic Scores for Quartet from luze duze on Vimeo.

Four Musicians improvise by interpreting four separate 3D animations, play simultaneously.

Animation/Score: Luke Harris

Piano: Nate Sloan
Bass: David Harrington
Sax: Alex Kotch
Drums: Taylor Newton

Part of the concert series "IF YOU SEE SOMETHING, PLAY SOMETHING" at Brown University, April 2007.

A Concert funded by the Creative Arts Council at Brown University.

The Animated Score Project by Jim Ryan

2010-12-31T05:29:00.000Z

"The goal of the animated score project is to compose pieces in which the visual quality, and the performance of the score are of equal value."
http://www.smallbrainrecords.com/text/animatedscore.html

Páll Ivan Pálsson

2010-12-31T05:25:00.000Z

Examples of my works and scores can be found here:

My website

Guðmundur Steinn Gunnarsson

2010-12-31T05:21:00.000Z

The works and scores of Guðmundur Steinn Gunnarsson can be found here:

His website
&
On YouTube
&
Open Processing

Jesper Pedersen

2010-12-31T05:09:00.000Z

Some experiments and works of composer Jesper Pedersen can be seen here:

On YouTube
&
His website

Justin Yang

2010-12-31T05:04:00.000Z

Some examples of the works of composer Justin Yang can be found here:

On YouTube
&
His portfolio