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Category: notation

Live Stage: Music in the Global Village [hu Budapest]

venuethumbnail.jpgMusic in the Global Village conference, the first international conference dedicated exclusively to network music composition and performance to be held from September 6-8, 2007 in Budapest, Hungary. John Bischoff is the keynote speaker. There will be over 20 lectures by leading experts in the field as well as 3 concerts with ensembles from Europe and the United States.

The Music in the Global Village conference will also be an opportunity to present new research and development. The focus is on real-time composition and notation, which constitute an important ingredient of network music performance. The ability to compose music in real-time according to given rules and to have the result immediately displayed in standard notation on computer screens adds a new dimension to this recent art form that relies on advances in network technology as much as on successfully integrating musical ideas, and hence, gives traditionally trained musicians the opportunity to partake in performances ordinarily geared towards geeks and technophiles. Continue reading


Jul 2, 2007
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Serial Port: A Brief History of Laptop Music by Marc Weidenbaum

schaeffer_260×257.jpg[Image: Pierre Schaeffer in 1952 playing the phonogène à clavier, a tape recorder with its speed altered by playing any of twelve keys on a keyboard. Photo courtesy of GRM.] Image and text source :: Published: May 24, 2006 :: Inside the Box: The computer comes out to play.

There’s often a vertical plane between musician and audience. The sheet-music stand paved the way for the upturned plastic shell of the turntable, and today, chances are that rectangle obscuring the face of the performer on stage is the screen of a laptop computer, which has emerged as a ubiquitous music-making tool.

The laptop, however, obscures more than just the musician’s face. Its uses vary too widely for it to be easily characterized. For some, the laptop is essentially a more portable equivalent of the DJ’s turntables, mixer, and crate of records. But for many, it is a means to bring the power of computer processing into live performance, creating music of the moment that’s comprised of all manner of sonic detritus: field recordings, sine waves, sound bites of pre-existing music, pure feedback. Continue reading


May 29, 2007
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Flock: For Saxophone Quartet, Audience Participation, and Video

flock.jpgCreated by Jason Freeman, Flock is a full evening performance work for saxophone quartet, conceived to directly engage audiences in the composition of music by physically bringing them out of their seats and enfolding them into the creative process. During the performance, the four musicians and 60-80 audience members move freely around the performance space. A computer vision system determines the locations of the audience members and musicians, and it uses that data to generate performance instructions for the saxophonists, who view them on wireless handheld displays mounted on their instruments. The data is also artistically rendered and projected on multiple video screens to provide a visual experience of the score. Continue reading


May 3, 2007
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Sonic Geographies

timestreams3.jpgSonic Geographies takes sound as the entry point for excavating and mapping urban experience and invisible infrastructures of the city. A series of experiments and scenarios are being developed that operate as maps and journeys but also as highly personal renderings of sonic experience – sounds of the personal world in conversation with sounds of the city. The mappings attempt to excavate the layers of sound that make up the city and create strata of difference: from the sound of a city’s church bells to the shifting sonic signatures of traffic, music radio and the layers of wireless communications. Continue reading


May 3, 2007
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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. Continue reading


Mar 14, 2007
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Interview: Jason Freeman

freeman2.jpgJason 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 of music at the Georgia Institute of Technology in Atlanta. The recipient of numerous awards, including two Turbulence commissions, one for N.A.G. in 2003, the other for Graph Theory in 2006, and a 2005 Rhizome commission for iTunes Signature Maker, Freeman’s works have been performed all over the world.

What his works have in common is that they break down conventional barriers between composers, performers, and listeners, using new technology and unconventional notation to turn audiences and musicians into compositional collaborators. Continue reading


Mar 11, 2007
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Simon Elvins: Interactive & Audible Print

notation.pngSimon Elvins, a graduate from MA Communication Art & Design at the RCA, has created a number of interesting works dealing with print as an interactive interface for sound.

Notation: This is part of an ongoing exploration into sound, print and notation, and looks at ways of linking sound to the printed page. Using a simple sounder, the project aims to directly relate tonal values of pattern and drawing, into a tonal scales of sound and music. Continue reading


Oct 16, 2006
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Turbulence Commission: Graph Theory

graphtheory.gifTurbulence Commission: Graph Theory by Jason Freeman, with Patricia Reed and Maja Cerar :: [needs Macromedia Flash Player plugin; Internet Explorer 5+, Mozilla Firefox 1.5.0+, or Safari 1.0+]

Graph Theory seeks to connect composition, listening, and concert performance by coupling an acoustic work for solo violin or solo cello to an interactive web site. On the web site, users navigate among sixty-one short, looping musical fragments to create their own unique path through the composition. The navigation choices which users make affect future concert performances of the work. Before each performance, the soloist prints out a new copy of the score from the web site. That score presents her with a fixed path through the piece; the order of the fragments is influenced by the decisions that recent web site visitors have made. Continue reading


Oct 1, 2006
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Simon Elvins’ Silent London

060628_mapping_sound.jpgSimon Elvins is concerned with sound as an ubiquitous force. Through a series of projects he has been documenting how sound is an often ignored dimension of our physical environment. Silent London plots quiet spaces in the English capitol using noise level data. An embossed print shows quiet areas raised up from the paper, bringing them to the attention of the viewer, while noise areas become blanked out valleys. noisy areas raised up from the paper while quiet areas become blank areas of peace. His FM Radio Map serves a dual purpose. On the one hand it plots the physical locations of commercial and pirate FM radio stations broadcasting in London. But circuits conductive pencil lines placed on the back of the map also turns it into a physical interface. Using a modified radio the map can be aurally “navigated” by placing metal contacts on points on the map. Continue reading


Jul 11, 2006
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Reblogged The MagicBook + The Book Radio

magicbook2.jpg

What’s New in Books

: The MagicBook explores seamless transition between reality and virtual reality. When users look at the pages of a real book through a hand held display, they are able to see virtual content superimposed over the real pages, that is augmented reality. When they see an augmented reality scene they like, users can fly into the scene and experience it as an immersive virtual environment. Currently the user can transition smoothly between these two fixed viewing modes: the augmented-reality view and the virtual-reality view. Continue reading


Jul 5, 2006
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What is this?

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

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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
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Networked: a (networked_book) about (networked_art)
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