Musical Virtuosity and Live Notation
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1 Musical Virtuosity and Live Notation Virtuosity An interdisciplinary symposium The Liszt Academy of Music, Budapest 3-6 March 2016 Richard Hoadley Digital Performance Laboratory, Anglia Ruskin University, Cambridge UK This presentation is available here: http: /rhoadley.net/presentations/virtuosity2016.pdf This research has been subsidised by Anglia Ruskin University and Arts Council England v http: /rhoadley.net/presentations/virtuosity2016.pdf
2 2 http: /rhoadley.net/presentations/virtuosity2016.pdf
3 Live (animated, dynamic) notation Composition (notated) (I used to do this: 3 http: /rhoadley.net/presentations/virtuosity2016.pdf
4 4 http: /rhoadley.net/presentations/virtuosity2016.pdf
5 but at the moment I don't particularly want to any more.) 5 http: /rhoadley.net/presentations/virtuosity2016.pdf
6 Electronic Composition with electronics Live Composition with algorithms Performance Physical computing 6 http: /rhoadley.net/presentations/virtuosity2016.pdf
7 Calder's Violin, SuperCollider Symposium, London http: /rhoadley.net/presentations/virtuosity2016.pdf
8 Interdisciplinarity and cross-domain expression practice-led research which seeks to translate between expressive domains using technology. An expressive domain is a form of artistic expression such as music, dance, text, or images and patterns. Information is taken from one domain and translated into another in real-time allowing synchronous performance. Music is already crossdomain: it is formed of physical action to create patterns. 8 http: /rhoadley.net/presentations/virtuosity2016.pdf
9 Performances: System Demonstration, Natural History Museum, London, June 2014 In particular see the engagement of the little girl in centre frame at 5:45 9 http: /rhoadley.net/presentations/virtuosity2016.pdf
10 Semaphore, Cambridge, October http: /rhoadley.net/presentations/virtuosity2016.pdf
11 Other work in Live Notation/ Live Coding Technically and aesthetically, this presentation also focuses on live notation, its possibilities and difficulties. The development of live notation has gained in momentum over the last few years as associated technologies have improved. MaxScore (Didkovsky), Bach Project (Aghostini and Ghisi)(both MaxMSP based and in part CAC systems), the use of Lilypond (a code-based notation language) and other more bespoke systems. I use SuperCollider and INScore (Fober). There is currently no widely accepted solution, (although there is more work being undertaken in the area). 11 http: /rhoadley.net/presentations/virtuosity2016.pdf
12 Central Features of Live Notation importance of exploitation of performer's instrumental virtuosity and the speed of learned response balance between fixed notated performance and improvisation: guided improvisation within a more formal, (though possibly generative) structure These factors mean that the pieces create portraits of the performer - the music that's in their hands provides the material - a performer's reaction relies very much on their understanding of and relationship with the variety of notations used. synchronisation with multi-domain live performance including text, images and movement 12 http: /rhoadley.net/presentations/virtuosity2016.pdf
13 Other Features of Live Notation you can use novel forms of notation; these are no longer fixed on the page the results don't have to be all one way or another, you can mix precise, pre-composed music with graphics and text. it is straightforward to add or remove elements - the 'live' score can itself be finalised or fluid. 13 http: /rhoadley.net/presentations/virtuosity2016.pdf
14 Virtuosity Here, I mean a smooth, (almost) unconscious link between senses and motor reactions: the ability to create performance our of these notations which are (usually) familiar musically but new in detail. I have worked with a number of musicians now - responses are very different - the practice tends to create portraits of the performers involved. In particular I'd like to mention the Piano and computer piece How To Play the Piano: 14 http: /rhoadley.net/presentations/virtuosity2016.pdf
15 How To Play the Piano 15 http: /rhoadley.net/presentations/virtuosity2016.pdf
16 16 http: /rhoadley.net/presentations/virtuosity2016.pdf
17 17 http: /rhoadley.net/presentations/virtuosity2016.pdf
18 18 http: /rhoadley.net/presentations/virtuosity2016.pdf
19 The tools provide a structure for the generation of music and/or common practice notation as well as text and graphical elements (including raster and vector images). facilitate communication between SuperCollider and INScore offer the beginnings of a more standard interface for physical mapping and live notation 19 http: /rhoadley.net/presentations/virtuosity2016.pdf
20 which are located... https: /github.com/supercollider/supercollider http: /inscore.sourceforge.net/ http: /rhoadley.net/inscore (on request) 20 http: /rhoadley.net/presentations/virtuosity2016.pdf
21 Forthcoming events Semaphore/Choreograms Early Dance Circle Biennial Conference, High Wycombe, 8th April involves rudimentary dance notation Choreograms Recital Hall, Anglia Ruskin University, Cambridge, Saturday April 23rd Edge Violations Ian Mitchell, clarinet, Recital Hall, Anglia Ruskin University, Cambridge, April 2016 TENOR ( Technologies for Music Notation and Representation), May 2016, Cambridge - deadline for submissions November 16th More information at http: /tenor2016.tenor-conference.org 21 http: /rhoadley.net/presentations/virtuosity2016.pdf
22 Thank you any questions? contact: this presentation is available at http: /rhoadley.net/presentations as virtuosity2016.pdf video recordings of past performances are at rhoadley.net/youtube and rhoadley.net/vimeo 22 http: /rhoadley.net/presentations/virtuosity2016.pdf
23 Lost in translation - problems and questions? The score is designed to be what it is: leave it alone! It amplifies the importance of automation in enabling more complex behaviour at higher levels, as in performance. Tool, technique or composition? What about interpretation of musical detail? Live notation: is it too difficult to play? 23 http: /rhoadley.net/presentations/virtuosity2016.pdf
24 Lost in translation - problems and questions? x, y and z maps to pitch, duration, amplitude, chordal complexity, timbre? Is this all too simplistic? (Yes) technicalities: how best to implement rotation (e.g. Earle Brown's December 1952 and display the resulting 'live' notation. 24 http: /rhoadley.net/presentations/virtuosity2016.pdf
25 25 http: /rhoadley.net/presentations/virtuosity2016.pdf
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