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Hi,

This is a small discussion on how to perform graphic notated music.  I discuss the subject by

explaining how my previous work 'Anatolia fuer Stimme' (nach Darmstadt) may be performed.

It is an old work that I cannot change any more but the discussion may pave the way for my new works.

Kind regards.

Ali R+

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Hi Ali,

You may want to consider uploading a PDF instead of a DOCX file. People can be reluctant to open DOCX files as they are common transmitters of viruses.

Regards,
Gav

Thanks Gav.  Here is the pdf version.

Attachments:

Hi, Ali,

The moment I saw Darmstadt I was drawn in; the place where people like Stockhausen, Cage, and dozens of other innovators met and worked. I’ll try to keep comments brief but I’m in danger of getting “carried away”.

I believe I can understand how you might approach interpreting your score.

It's closer to any graphical scoring I may have done because I’ve had less involvement with the aleatoric (with music anyway) and I’m never sure about interpretation. It needs an openness of mind so the performer isn’t guided by convention, or muscle memory (like if one’s hand happens to fall on a triad on a piano). Nothing wrong with triads but they’d have to be wilful rather than automatic, if that makes any sense.

I’ve read the accounts of a few performances of graphical scores from Darmstadt in Die Reihe and related books/articles. And am a follower of the (sadly deceased) Merce Cunningham, the choreographer.

Have you studied there?

The limits of my involvement (musically) have been using air-brush and pastel on black Ingres paper but that’s as an intermediate stage between “feeling” a mood inwardly and writing it on staves. I found it easier to project the impression of a stream of sound on paper first, later contemplating how it could be turned into musical notes. There were minor issues like whether colours should represent timbre or tessitura, the contrast being volume and how far time could be stretched (so I didn’t end up with miles of paper). So, in a way, I was interpreting my own graphics to produce as fixed a result as a score can be.

But more of interest is the spoken word and being a fan of the surrealist poet, Mallarmé, his concern with musicalising speech. I suppose anyone drawn to Debussy will encounter Mallarmé through L’Apres midi d’un Faune. Mallarmé used type sizes and type-faces to represent dynamics and tempo, and concerned himself with the overall ratio of type to white space on the page. In Un Coup de Dès he applied alternative reading directions. Unfortunately he passed away before completing work on Le Livre, a book but more like a performance session in which chance played a large part. I’ve done more with this than music but that’s another story.

 

Anyway, most interesting to encounter your work with this.

Thank you for posting your report.

Bests, Dane

I'm familiar with the concept of aleatoric music but I have little experience with it so I'm just enjoying the discussion, thanks Ali! 

It's all just communication, but score based devices are pretty primitive really. I guess in reality there is usually some kind of existing relationship between the people involved that gives them insight into the piece not gained from the score itself. 

I think that there are composers already working with virtual reality scores. Probably building in AI based exchanges between "score" and performer for use by the musicians during live performances.

Hi Dane,

I have attended Summer course 1996 at Darmstadt.  Stockhausen was there.  It was a hot summer time.  I remember I was totally exhausted just before the participants' concerts began.  I was working at Karlsruhe ATC by then and could effort 1200DM.  I had to send my work 'Tribute to the Wise One' also to get accepted.  The payment included everything, board and room so the price was reasonable.  What I remember now from the course, almost nothing, everything got digested I guess.  But I remember one sentence from Stockhausen's seminar:  'It is not what I do but how much I do that'.

As I mentioned the heat and the daily labor at job and the course shortly after the Darmstadt adventure I got hospitalized for 3 weeks.  

I also use graphics when sketching, not always though.  It helps.

Thank you for mentioning Mallarme Un Coup de Dès.  It is beautiful.

Thank you again for sharing your experience and knowledge.

Ali

Hi Ingo,

Virtual reality scores is very interesting.  You have to be at the right place to be able to do these unfortunately.  I attended 1990 Summer course at Stanford CCRMA lab (with a small tuition waiver).  I could do the tape for 'Piece for Computer and 4 Trombones' there.  I wrote the trombone parts later.  They were using a DSP chip with NEXT workstation and LISP, brand new things by then.  Nowadays any laptop has DSP chips.

The problem is: somebody creating technical novelties will justifiably have priority in using it.  But this does not guarantee the musical quality of the work created(including mine).  

> I guess in reality there is usually some kind of existing relationship between the people involved that gives them insight >into the piece not gained from the score itself. 

   A beautiful description of 'intersubjectivity'.

Thank you Ingo for your valuable participation in the discussion.

Ali

 

Ingo Lee said:

I'm familiar with the concept of aleatoric music but I have little experience with it so I'm just enjoying the discussion, thanks Ali! 

It's all just communication, but score based devices are pretty primitive really. I guess in reality there is usually some kind of existing relationship between the people involved that gives them insight into the piece not gained from the score itself. 

I think that there are composers already working with virtual reality scores. Probably building in AI based exchanges between "score" and performer for use by the musicians during live performances.

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