Tangible Scores

Enrique, Tomás

doi:10.1145/2839462.2856344

Cited by 24 publications

(3 citation statements)

References 4 publications

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“…In the digital music domain, the term 'score' has been used for a variety of different purposes. An overview of the scores in digital musical instruments has been recently proposed in a systematic scrutiny of the NIME performance (Masu, Correia and Romao 2021), and five main uses of scores were identified: 1) scores as instructions or information (suggesting how to play an instrument; as in Hamano, Rutkowski, Terasawa, Okanoya and Furukawa 2013); 2) scores as an interface to play a DMI (score as a controller that can be tangible; e.g., Tomás and Kaltenbrunner 2014), virtual (e.g., Masu et al 2020), or in form of code with a graphic visualisation (e.g., Magnusson 2014b);…”

Section: Visual Support In Live Coding Practicementioning

confidence: 99%

Visual Representations to Stimulate New Musicking Strategies in Live Coding

Masu,

Dal Rì

2023

Org. Sound

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In live coding, the code can be considered as an archetypal form of score that notates formal processes. We aimed at investigating the possibility of using graphic visuals as a complementary form of descriptive score by visualising sound events using different time representations. To this end, we devised two visualisation systems (Time_X and Time_Z). Time_X represents time along the x-axis, while in Time_Z the objects overlap along an imaginary z-axis. Based on our previous personal experience with the system, such forms of visual scores can help to develop new musicking strategies while live coding. In this article, we wanted to broaden such reflections, and we used them as probes in a study with three live coders. After tailoring the two systems to the usual practice of the three participants, we asked them to use the systems for three weeks and keep a diary. At the end, we interviewed them. Based on their comments, we present some reflections on the use of graphic forms of visualisation in live coding, on how they can support musicking process, and to what extent such visuals can be considered scores.

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Section: Visual Support In Live Coding Practicementioning

confidence: 99%

Visual Representations to Stimulate New Musicking Strategies in Live Coding

Masu,

Dal Rì

2023

Org. Sound

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“…Son, en definitiva, objetos que suenan. En este sentido, el propio autor considera esta obra como un híbrido entre partitura gráfica e instrumento digital (Tomás, 2016). 26 La pieza puede visionarse en: https://www.youtube.com/watch?v=tH_ZahQDy9w&feature=youtu.be 27 Para más información, véase: http://tangible.ufg.at/projects/tangible-scores/# Figura 5.…”

Section: Algunos Ejemplos De Grafismo Musical En El Contexto Del Arteunclassified

Reflexiones en torno a la noción de arte sonoro y los límites y contextos del grafismo musical

Fernández

2020

Arte Individ. Soc.

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Este artículo aborda diversas aproximaciones a la categoría de arte sonoro con el fin de cuestionar algunos de los argumentos estéticos e históricos que supuestamente la sustentan. Por una parte, se revisarán algunas ideas vinculadas a la noción de arte sonoro como disciplina claramente diferenciada del campo de la creación musical. En el lado opuesto, la concepción del arte sonoro como un campo emergente y punto de encuentro de distintas disciplinas en disolución plantea otras interesantes reflexiones, como la imposibilidad de alcanzar una efectiva legitimación simbólica a través de un canon independiente, los procesos que argumentan la asimilación del propio término, la aceptación de la música como una posible categoría agotada, etc. Las contradicciones que se derivan de esta línea argumental cuestionan si se trata únicamente de un debate de naturaleza teórica o artística o si, más bien, son otros aspectos –de carácter sociológico– los que operan efectivamente en la creación y delimitación de los diversos contextos del arte sonoro. En este sentido, el grafismo musical, desde su concepción como manifestación artística híbrida, pone de relieve algunos mecanismos ideológicos que niegan que su presencia/ausencia dentro de los espacios del arte sonoro se deba únicamente a motivos de naturaleza artística.

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“…Developments in screen-based notation systems have allowed for animated, scrolling notation (Fischer 2015; Vickery, Devenish, James and Hope 2017; Hope 2020). Technological developments have also seen the score and the instrument combine as tangible scores (Tomás and Kaltenbrunner 2014; Tomás 2016). Some examples of machine-specific notation for electronic music can be seen in Andrzej Dobrowolski’s ‘Music for magnetic tape’ for tape machines, Éliane Radigue’s ‘7th Birth’ for the ARP 2500 (Beautiful 2021), the Patch and Tweak template system for euro rack synth components (Patch and Tweak 2021) and scratch notation for turntablists (Reinecke 2009; Thompson 2012; Miyakawa 2014; Sonnenfeld and Hansen 2016).…”

Section: Introductionmentioning

confidence: 99%

Acid Patterns: How people are sharing a visual notation system for the Roland TB-303 to create and recreate acid house music

Davis

2022

Org. Sound

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This article discusses the use of an accessible visual notation system that represents the melodic component of an electronic music composition in acid house music, based on programming the Roland TB-303 bassline synthesiser’s sequencer. This notation system can be used for sharing, composition, collaboration and archival purposes. This system is called an acid pattern. The article analyses a variety of different approaches to communicate acid patterns. It examines the requirements and visual elements used and how they relate directly to the functionality of the Roland TB-303’s sequencer. Through content analysis of images, text and audio data gathered from various music community websites this article furthers the understanding of how the practices and cultures of acid house music composition, notation and archiving are shared online and how they, enabled by web-based technologies, can build communities. This article suggests important possibilities for communities of practice-based around a shared cultural identity, accessible notation systems, and the creation and recreation of music in both online and offline contexts.

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Tangible Scores

Cited by 24 publications

References 4 publications

Visual Representations to Stimulate New Musicking Strategies in Live Coding

Visual Representations to Stimulate New Musicking Strategies in Live Coding

Reflexiones en torno a la noción de arte sonoro y los límites y contextos del grafismo musical

Acid Patterns: How people are sharing a visual notation system for the Roland TB-303 to create and recreate acid house music

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