Electronic Scores for Music: The Possibilities of Animated Notation

2017 ◽  
Vol 41 (3) ◽  
pp. 21-35 ◽  
Author(s):  
Cat Hope
Keyword(s):  
Real Time ◽  
New Music ◽  
Music Notation ◽  
Time Score ◽  
Third Way ◽  
Performance Practices ◽  
The Real ◽  
Processing Power ◽  
Movement Dynamics ◽  
Animated Notation

This article argues that animated notations are the most exciting new direction for music notation since the conception of the real-time score. The real-time score revolutionized performance practices in new music, with the composer Gerhard E. Winkler calling it a “third way” between improvisation and fixed scores. Developing upon the idea of dynamic notation epitomized by the real-time score, animated notation features movement as its foundation, and may be presented as an interactive program, video, or application environment generated in real time or preset. It extends the possibilities presented by graphic notations, engaging the processing power of computing toward new complexities of shape, color, movement dynamics, form, synchronicity, and the very performability of music scores. Beginning with a brief historic overview of trends and background that may have informed the development of animated notation, I then examine contemporary practices and their application to a range of music. I will argue that animated notation brings particular benefits for scoring music featuring electronics and aleatoric elements.

scholarly journals A Hardware-Oriented Algorithm for Real-Time Music Key Signature Recognition

2021 ◽  
Vol 11 (18) ◽  
pp. 8753
Author(s):  
Paulina Kania ◽  
Dariusz Kania ◽  
Tomasz Łukaszewicz
Keyword(s):  
Real Time ◽  
Subject Matter ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Music Notation ◽  
The Real ◽  
Chromatic Scale ◽  
Preludes And Fugues ◽  
Signature Recognition ◽  
The Subject

The algorithm presented in this paper provides the means for the real-time recognition of the key signature associated with a given piece of music, based on the analysis of a very small number of initial notes. The algorithm can easily be implemented in electronic musical instruments, enabling real-time generation of musical notation. The essence of the solution proposed herein boils down to the analysis of a music signature, defined as a set of twelve vectors representing the particular pitch classes. These vectors are anchored in the center of the circle of fifths, pointing radially towards each of the twelve tones of the chromatic scale. Besides a thorough description of the algorithm, the authors also present a theoretical introduction to the subject matter. The results of the experiments performed on preludes and fugues by J.S. Bach, as well as the preludes, nocturnes, and etudes of F. Chopin, validating the usability of the method, are also presented and thoroughly discussed. Additionally, the paper includes a comparison of the efficacies obtained using the developed solution with the efficacies observed in the case of music notation generated by a musical instrument of a reputable brand, which clearly indicates the superiority of the proposed algorithm.

The Future is Graphic: Animated notation for contemporary practice

2020 ◽  
Vol 25 (2) ◽  
pp. 187-197
Author(s):  
Cat Hope
Keyword(s):  
Electronic Music ◽  
New Music ◽  
Music Notation ◽  
Musical Style ◽  
Music Practice ◽  
Acoustic Instruments ◽  
Animated Notation ◽  
Musical Genres ◽  
Contemporary Practice ◽  
Compositional Approaches

A growing number of musicians are recognising the importance of re-thinking notation and its capacity to support contemporary practice. New music is increasingly more collaborative and polystylistic, engaging a greater range of sounds from both acoustic and electronic instruments. Contemporary compositional approaches combine composition, improvisation, found sounds, production and multimedia elements, but common practice music notation has not evolved to reflect these developments. While traditional notations remain the most effective way to communicate information about tempered harmony and the subdivision of metre for acoustic instruments, graphic and animated notations may provide an opportunity for the representation and communication of electronic music. If there is a future for notating electronic music, the micro-tonality, interactivity, non-linear structures, improvisation, aleatoricism and lack of conventional rhythmic structures that are features of it will not be facilitated by common practice notation. This article proposes that graphic and animated notations do have this capacity to serve electronic music, and music that combines electronic and acoustic instruments, as they enable increased input from performers from any musical style, reflect the collaborative practices that are a signpost of current music practice. This article examines some of the ways digitally rendered graphic and animated notations can represent contemporary electronic music-making and foster collaboration between musicians and composers of different musical genres, integrating electronic and acoustic practices.

The Real-Time-Score: Nucleus and Fluid Opus

2010 ◽  
Vol 29 (1) ◽  
pp. 89-100 ◽  
Author(s):  
Gerhard E. Winkler
Keyword(s):  
Real Time ◽  
Time Score ◽  
The Real

Sight-reading

2012 ◽  
Author(s):  
Andreas C. Lehmann ◽  
Reinhard Kopiez
Keyword(s):  
Problem Solving ◽  
Real Time ◽  
Skill Acquisition ◽  
Reading Performance ◽  
Sight Reading ◽  
Music Notation ◽  
The Real ◽  
Novices And Experts

Sight-reading is defined as the execution – vocal or instrumental – of longer stretches of non- or under-rehearsed music at an acceptable pace and with adequate expression. Some people also label this ‘playing by sight’ or ‘prima vista’. Similar to improvisation, sight-reading requires the instant adaptation to new constraints, which places it among those that motor scientists refer to as open skills. This article briefly looks at how music notation is perceived and then moves on to the structure of sight-reading, taking into account the real-time conditions under which it takes place. This includes a discussion of perceptual and problem-solving issues. Finally, the article outlines the course of skill acquisition with its characteristic differences between novices and experts, and presents a model of sight-reading performance.

The Real-Time Neural Genesis of a Punchline

2014 ◽  
Author(s):  
Irving Biederman ◽  
Ori Amir
Keyword(s):  
Real Time ◽  
The Real

Real-Time System for Sending Data from Three Clients to One Server with MATLAB

2015 ◽  
Vol 2 (1) ◽  
pp. 35-41
Author(s):  
Rivan Risdaryanto ◽  
Houtman P. Siregar ◽  
Dedy Loebis
Keyword(s):  
Information System ◽  
Real Time ◽  
Time System ◽  
Real Time System ◽  
The Real ◽  
Performance Time ◽  
Data Process ◽  
Effectiveness And Efficiency

The real-time system is now used on many fields, such as telecommunication, military, information system, evenmedical to get information quickly, on time and accurate. Needless to say, a real-time system will always considerthe performance time. In our application, we define the time target/deadline, so that the system should execute thewhole tasks under predefined deadline. However, if the system failed to finish the tasks, it will lead to fatal failure.In other words, if the system cannot be executed on time, it will affect the subsequent tasks. In this paper, wepropose a real-time system for sending data to find effectiveness and efficiency. Sending data process will beconstructed in MATLAB and sending data process has a time target as when data will send.

The real-time computing of the Stirling formula based on hardware acceleration

2013 ◽  
Author(s):  
Jiyang Yu ◽  
Dan Huang ◽  
Siyang Zhao ◽  
Nan Pei ◽  
Huixia Cheng ◽  
...  
Keyword(s):  
Real Time ◽  
Hardware Acceleration ◽  
Stirling Formula ◽  
The Real ◽  
Real Time Computing
Sign in / Sign up

Export Citation Format

Share Document