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The Evaluation Of Nonlinear Musical Structures, Lindsay Vickery
The Evaluation Of Nonlinear Musical Structures, Lindsay Vickery
Research outputs 2011
No abstract provided.
Screen Scores: New Media Music Manuscripts, Cat Hope, Lindsay Vickery
Screen Scores: New Media Music Manuscripts, Cat Hope, Lindsay Vickery
Research outputs 2011
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.
The Possibilities Of Novel Formal Structures Through Computer Controlled Live Performance, Lindsay Vickery
The Possibilities Of Novel Formal Structures Through Computer Controlled Live Performance, Lindsay Vickery
Research outputs 2011
Computer controlled performance opens a range of novel structural possibilities. This paper explores the mechanisms and ramifications of this approach, and its potential to expand the repertoire of formal structures available to the composer. Traditional and computer coordinated performance models are compared. Modes of computer control, permutation, transformation and generation are discussed and their implications are evaluated. The range of implications of this approach to the performance environment are given together with illustrations from the author’s own work.
Visualising The Score: Screening Scores In Realtime Performance, Cat Hope, Lindsay Vickery
Visualising The Score: Screening Scores In Realtime Performance, Cat Hope, Lindsay Vickery
Research outputs 2011
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.
Spatialising Threads/Hallucinations: Closing The Gap Between Installation And Performance, Catherine A. Hope, Kynan Tan
Spatialising Threads/Hallucinations: Closing The Gap Between Installation And Performance, Catherine A. Hope, Kynan Tan
Research outputs 2011
Threads/Hallucinations is a musical work that combines sound installation and live performance using an eight-speaker array. The work uses spatialisation as a means to control the performance, provide an immersive listening experience and extend musical composition parameters. The work draws on spatial and electronic music composition techniques, sound art installation and site-specific sounds. This paper will outline some key influences on the creation of this work as well as outlining concepts and methodologies for incorporating spatial techniques within the field of electronic music.
Organicism In Live Experimental Electroacoustic Music, Mark Mcmahon
Organicism In Live Experimental Electroacoustic Music, Mark Mcmahon
Research outputs 2011
This paper explores the potential for an organicist or relational holistic approach to experimental electroacoustic music composition that is indeterminate with respect to performance. It follows a phenomenological interpretation of the musical work as the product of dynamic, temporal or relational processes involving the performers, their instruments, the sounds themselves, the whole acoustic space and the audience. An analysis of an electroacoustic composition and Decibel ensemble performance is offered for which organic indeterminacy is described in terms of a performative openness towards the creation of experimental music.
What's In A Name? Is The Term "Third Stream Music" Truly Representative Of The Music It Is Supposed To Describe? Would The Term "Jazzical" Be Just As Appropriate?, Matthew Styles
Research outputs 2011
No abstract provided.
New Possibilities For Electroacoustic Music Performance, Cat Hope
New Possibilities For Electroacoustic Music Performance, Cat Hope
Research outputs 2011
Western Australian new music ensemble Decibel has an ongoing research project dedicated to performing music that combines acoustic and electronic instruments. In the process of revitalising pieces that have been considered un-performable due to limitations in technology at the time of composition, or certain technologies becoming obsolete, Decibel has developed a unique approach to new music performance involving electronic and acoustic instruments. This has also involved the reworking of electronic pieces not intended to be performed live, works that have previously proved difficult to perform, and the ‘electroacoustification’ of acoustic works. The ensemble combines old technologies such as reel-toreel tape …
Multidimensional Data Sets: Traversing Sound Synthesis, Sound Sculpture, And Scored Composition, Stuart James, Catherine Hope
Multidimensional Data Sets: Traversing Sound Synthesis, Sound Sculpture, And Scored Composition, Stuart James, Catherine Hope
Research outputs 2011
This article documents some of the conceptual developments of some various approaches to using multidimensional data sets as a means of propagating sound, manipulating and sculpting sound, and generating compositional scores. This is not only achieved through a methodology that is reminiscent of some of the systematic matrix procedures employed by composer Peter Maxwell Davies, but also through a generative signal path method conventionally termed Wave Terrain Synthesis. Both methodologies follow in essence the same kind of paradigm - the notion of extracting information through a process of traversing multidimensional topography. In this article we look at four documented examples. …
Processes In Composition And Performance Leading To Performance, Catherine Hope
Processes In Composition And Performance Leading To Performance, Catherine Hope
Research outputs 2011
This paper contemplates different processes and results developed by ‘programming composers’ as compared to composers who use programmers to facilitate or realise compositional components of their works. Different models for the relationship between music composition and computer programming are examined, as are the outcomes for composers and performers. For music programmers the compositional process varies according to the composer and the work they wish to create. Complex musical configurations involving sound synthesis, processing, aleatoric and improvisational approaches may be guided by conceptual ideas that do not always originate with programming skills, and can be outsourced within differing levels of collaboration. …
Manifesting Meaning From A Performance Of Cruelty: Parallels In The Musical Experimentalism Of Antonin Artaud And Sub Ordnance, Cat Hope, Sam Gillies
Manifesting Meaning From A Performance Of Cruelty: Parallels In The Musical Experimentalism Of Antonin Artaud And Sub Ordnance, Cat Hope, Sam Gillies
Research outputs 2011
No abstract provided.
Musical Parameter Manipulation Possibilities Of A Homemade Reactable, James Herrington, Lindsay Vickery
Musical Parameter Manipulation Possibilities Of A Homemade Reactable, James Herrington, Lindsay Vickery
Research outputs 2011
Musical parameter control is an important part of live interactive electronic computer music. Due to the increasing availability and affordability of music technology, including powerful computer software, advances in this area are being made to enable easier and more effective parameter control. The purpose of this paper is to investigate and discuss the musical parameter manipulation possibilities of a homemade instrument with a tangible tabletop interface based on the technology of the reacTable. The design and construction of the instrument is documented, including the physical build as well as the software component of the system, which incorporates the computer software …