Networked_Music_Review

No Note Left Behind

beam.jpgNo Note Left Behind Project Launch Party– 3/22/07 at Recombinant Media Labs 763 Brannan St. San Francisco, CA: The No Note Left Behind Project will be launched with a presentation and demo on March 22nd in San Francisco, CA by the BEAM Foundation. The goal of the project is to create a standard for an enduring performance score for New Music that may involve computers, networks, alternate instruments and audio/ video processing.

The new scoring system is named MAPPS for Musically Accumulating Persistent Performance Score. MAPPS consists of an authoring environment and methodology for rendering all synthesis, processing, interaction and representation in a high level portable language. All hardware except the performer’s instrument will be virtualized. Flat screens will serve as music stands. Working versions of these concepts have been implemented in the MACIAS system now being used in performance by TrioMetrik. Richard Boulanger, professor at The Berklee College of Music explains, “I have always felt it is my responsibility as a 21st century composer, to write for the instruments of my time. Because of dependence on marginal technologies I have all but given up the fight and stopped composing and performing. MAPPS is a timely, important and essential project that will support, sustain, and inspire the next generation of contemporary composers and new media artists.“

San Francisco Symphony violinist, Daniel Kobialka, who has had four Pulitzer Prize composers write for him, claims, “MAPPS is the greatest “sound product vision” of this century and needs support to be completed in all of its vast dimensionality and versatility.”

In 1932 the great composer Edgard Varese said, “ We need new instruments very badly.” Prescient as he was, Varese was only partly correct. Not only do we need new instruments, we need a durable new way to compose and score for these instruments.

“What we have after 75 years of progress is a Babel of equipment, notation techniques and connection schemes each unique to the composition and even to the musicians performing the work. Rarely is a modern music composition using new instruments performed more than once. Often it is impossible to remount a piece a few years after it was written. Composers who once embraced technology in their creations (Riley, Adams, Stockhausen, Reich, Boulez) have reverted to traditional instrumentation for the bulk of their current work. Not because of choice, but out of necessity.” continues McMillen.

Futurist Jaron Lanier, the inventor of “Virtual Reality” says, “This is the start of a new musical culture. The importance of this development cannot be overstated.” Max Mathews calls BEAM’s efforts, “the most important musical endeavor of this century… essential to ensure the future of new music.” Mathews, 80 years old, is the father of computer music. He was the first to teach a computer to sing in 1962 at Bell Laboratories. The song was “Daisy,” memorialized in “2001: A Space Odyssey”.

“This inability to maintain a score over time and distance has resulted in the languishing of modern music. Why write for new instruments and techniques when your efforts will not add to the performance repertoire? Composers have been reduced to the Karaoke-like world of recording the modern component of a in a studio and having live musicians play along – degrading to the performers and uninviting to the audience,” opines McMillen.

It is now possible to create an enduring scoring environment that would allow a deserving composition longevity and ubiquity. These technologies exist but they need to be normalized and contained within an expandable robust framework for creation and reuse. The MAPPS development project is expected to require 3-5 years and the efforts of an international committee of composers, technologists and performers.

The BEAM Foundation’s board reads like a who’s who of innovation in computers and New Music. Along with those quoted above, the board includes: David Wessel, Professor of Music at UC Berkeley and founder of the International Computer Music Conference; Dave Smith, inventor of MIDI; and Don Buchla and Tom Oberheim, both synthesizer pioneers.

The “No Note Left Behind” Kick-Off Party
WHAT: An Evening of Full Immersion in New Music
WHEN: March 22nd, 2007 7:30 – 10:00 PM
WHERE: Recombinant Media Labs
763 Brannan Street, San Francisco, CA 94101

TrioMetrik is BEAM’s in house ensemble. Three musicians and their instruments are joined by MACIAS, an advanced music program and interface system that has evolved from the audio explorations and advancements of today’s leading experts. This system receives, interprets and operates on the sounds, notes, gestures and intentions of the musicians. A formalized personal display system provides notation, directions and feedback that guide the musicians through the score representing the composition while reacting to their individual performances. This sophisticated level of integration of live instruments, captured audio, synthesis, video and sound processing enables a form of interactive music that is engaging, immediate, inviting, and never before possible.


Mar 14, 2007
Trackback URL

Leave a comment

Interviews

Current interview:
Robin Meier, Ali Momeni and the sound of insects

Previous Interviews:

Tags


livestage music sound performance calls + opps installation audio/visual radio festival instrument networked audio interactive experimental electronic workshop video participatory writings event mobile exhibition concert live collaboration electroacoustic environment nature reblog distributed soundscape field recording net_music_weekly improvisation software history locative media space public noise recording immersion voice acoustic sonification lecture generative conference body tool sound sculpture net art art + science VJ/DJ light diy remix site-specific perception mapping film visualization listening laptop algorithmic multimedia city urban data wearable architecture open source game virtual biotechnology sound walk spatialization webcast hacktivism robotic image score platform electromagnetic new media cinema ecology found news composer telematic interface streaming residency interviews/other sensor dance circuit bending synesthesia physical political notation intervention object controller broadcasts conversation narrative second life responsive mashup place technology ambient social network symposium motion tracking hybrid intermedia augmented spoken word livecoding text phonography auralization acousmatic upgrade! gesture opera aesthetics mixed reality resource theory processing 8bit orchestra nmr_commission wireless device toy wireless network theater web 2.0 presentation community surveillance p2p 3D copyright soundtrack research podcast sample feedback psychogeography social chance interdisciplinary tactile recycle interview language systems code emergence presence cassette privacy free/libre software media play chiptune newsletter place-specific archives avatar education haptics activist surround sound audio tour glitch hardware tactical identity bioart asynchronous business tv tangible composition animation jazz transmission arts apps tag e-literature collective microsound relational synchronous Artificial Intelligence conductor convergence reuse simulation ubiquitous synthesizers im/material
3D 8bit acousmatic acoustic activist aesthetics algorithmic ambient animation apps architecture archives art + science Artificial Intelligence asynchronous audio audio/visual audio tour augmented auralization avatar bioart biotechnology body broadcasts business calls + opps cassette chance chiptune cinema circuit bending city code collaboration collective community composer composition concert conductor conference controller convergence conversation copyright dance data distributed diy e-literature ecology education electroacoustic electromagnetic electronic emergence environment event exhibition experimental feedback festival field recording film found free/libre software game generative gesture glitch hacktivism haptics hardware history hybrid identity im/material image immersion improvisation installation instrument interactive interdisciplinary interface intermedia intervention interview interviews/other jazz language laptop lecture light listening live livecoding livestage locative media mapping mashup media microsound mixed reality mobile motion tracking multimedia music narrative nature net art networked net_music_weekly new media news newsletter nmr_commission noise notation object open source opera orchestra p2p participatory perception performance phonography physical place place-specific platform play podcast political presence presentation privacy processing psychogeography public radio reblog recording recycle relational remix research residency resource responsive reuse robotic sample score second life sensor simulation site-specific social social network software sonification sound soundscape sound sculpture soundtrack sound walk space spatialization spoken word streaming surround sound surveillance symposium synchronous synesthesia synthesizers systems tactical tactile tag tangible technology telematic text theater theory tool toy transmission arts tv ubiquitous upgrade! urban video virtual visualization VJ/DJ voice wearable web 2.0 webcast wireless device wireless network workshop writings

Archives

2019

Jul
Jun | May | Apr | Mar | Feb | Jan

2018

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2017

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2016

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2015

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2014

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2013

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2012

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2011

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2010

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2009

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2008

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2007

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2006

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2005

Dec | Nov | Oct | Sep | Aug | Jul
Jun | May | Apr | Mar | Feb | Jan

2004

Dec | Nov | Oct | Sep | Aug | Jul

What is this?

Networked_Music_Review (NMR) is a research blog that focuses on emerging networked musical explorations.

Read more...

NMR Commissions

NMR commissioned the following artists to create new sound art works. More...
More NMR Commissions

Net_Music_Weekly

"Two Trains" by Data-Driven DJ aka Brian Foo

Two Trains: Sonification of Income Inequality on the NYC Subway by Data-Driven DJ aka Brian Foo: The goal of this song is to emulate a ride on the New York City Subway's 2 Train ... Read more
Previous N_M_Weeklies

Bloggers

Guest Bloggers:

F.Y.I.

Feed2Mobile
Massachusetts Cultural Council
networked_performance
Networked: a (networked_book) about (networked_art)
New American Radio
New Radio and Performing Arts, Inc.
New York State Council on the Arts, a State agency
New York State Music Fund
Turbulence
Upgrade! Boston

Turbulence Works