Hostname: page-component-745bb68f8f-hvd4g Total loading time: 0 Render date: 2025-01-19T00:05:35.580Z Has data issue: false hasContentIssue false
  • English
  • Français

A Real-Time Score for Collaborative Just-in-Time Composition

Published online by Cambridge University Press:  13 November 2014

Lonce Wyse  and
Jude Yew
Lonce Wyse*
Affiliation:
Department of Communications and New Media, National University of Singapore, 11 Computing Drive, Singapore, 117416
Jude Yew*
Affiliation:
Department of Communications and New Media, National University of Singapore, 11 Computing Drive, Singapore, 117416
*
Emails: [email protected] and [email protected]
Emails: [email protected] and [email protected]
Get access Rights & Permissions [Opens in a new window]

Abstract

This article explores listening and communications strategies that arise with a collaborative scoring system we are developing for use within improvisational contexts. Performers generate notation on a scrolling score a short time before it is played or rendered into sound. Working a short time in the future allows performers to respond to sound as they would in any improvisatory situation, and yet coordinate their activity through notation in a way typically associated with pre-composed music. The ‘Anticipatory Score’ platform supports the exploration of different kinds of relationships between performers, composers and audience members, and different listening and engagement strategies that affect the musical experience for all participants.

Type
Articles
Information
Organised Sound , Volume 19 , Special Issue 3: Mediation: Notation and Communication in Electroacoustic Music Performance , December 2014 , pp. 260 - 267
Copyright
© Cambridge University Press 2014 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Barri, T. 2009. Versum: Audiovisual Composing in 3D. International Conference on Auditory Display. 18–21.Google Scholar
Biasutti, M. and Frezza, L. 2009. Dimensions of Music Improvisation. Creativity Research Journal 21(2–3): 232–242.CrossRefGoogle Scholar
Bryan-Kinns, N. 2012. Mutual Engagement in Social Music Making. In Lecture Notes of the Institute for Computer Sciences, Social Informatics and Telecommunications Engineering, LNICST 78, 260–6.Google Scholar
Burtner, M., Kemper, S. and Topper, D. 2012. Network Socio-Synthesis and Emergence in NOMADS. Organised Sound 17(1): 45–55.Google Scholar
Cage, J. 1969. Notations. New York: Something Else Press.Google Scholar
Canning, R. 2012. Real-Time Web Technologies in the Networked Performance Environment. Proceedings of the International Computer Music Conference, 315–19.Google Scholar
Didkovsky, N. 2010. Density Trajectory Studies: Organizing Improvised Sound. Contemporary Music Review 29: 75–80.Google Scholar
Dourish, P. and Bellotti, V. 1992. Awareness and Coordination in Shared Workspaces. Proceedings of the 1992 ACM Conference on Computer-Supported Cooperative Work. Toronto, ON, 107–14.Google Scholar
Eigenfeldt, A. and Pasquier, P. 2012. Creative Agents, Curatorial Agents, and Human-Agent Interaction in Coming Together. Proceedings of the 9th Sound and Music Computing conference (SMC 2012), Copenhagen, 181–6.Google Scholar
Fencott, R. and Bryan-Kinns, N. 2010. Hey Man, You’re Invading my Personal Space! Privacy and Awareness in Collaborative Music. Proceedings of the International Conference on New Interfaces for Musical Expression, Sydney.Google Scholar
François, A. R., Chew, E. and Thurmond, D. 2007. Visual Feedback in Performer-Machine Interaction for Musical Improvisation. Proceedings of the International Conference on New Interfaces for Musical Expression (NIME’07), 277–80.Google Scholar
Freeman, J. 2008. Extreme Sight-Reading, Mediated Expression and Audience Participation: Realtime Music Notation in Live Performance. Computer Music Journal 32: 25–41.Google Scholar
Hajdu, G. and Didkovsky, N. 2009. On the Evolution of Music Notation in Network Music Environments. Contemporary Music Review 28(4–5): 395–407.Google Scholar
Harris, Y. 2013. Score as Relationship: From Scores to Score Spaces to Scorescapes. In P. deAssis, W. Brooks, K. Coessens (eds), Sound and Scores: Essays on Sound, Score and Notation. Leuven: Leuven University Press.Google Scholar
McAllister, G., Alcorn, M. and Strain, P. 2004. Interactive Performance with Wireless PDAs. Proceedings of the 2004 International Computer Music Conference. Miami, 702–5.Google Scholar
McClelland, C. and Alcorn, M. 2008. Exploring New Composer/Performer Interactions Using Real-Time Notation. Proceedings of the 2008 International Computer Music Conference, Belfast.Google Scholar
Merritt, T., Kow, W., Ng, C., McGee, K. and Wyse, L. 2010. Who Makes What Sound? Supporting Real-Time Musical Improvisations of Electroacoustic Ensembles. Proceedings of the 22nd Conference of the Computer-Human Interaction Special Interest Group of Australia on Computer-Human Interaction (OZCHI ’10), New York: ACM, 112–19.Google Scholar
Nettl, B. 1974. Thoughts on Improvisation: A Comparative Approach. The Musical Quarterly 60(1): 1–19.Google Scholar
Renaud, A., Carôt, A. and Rebelo, P. 2007. Networked Music Performance: State of the Art. Proceedings of the AES 30th International Conference.Google Scholar
Sauer, T. 2009. Notations 21. New York: Mark Batty.Google Scholar
Small, C. 1998. Musicking: The Meanings of Performing and Listening. Hanover: University Press of New England.Google Scholar
Sudarshan, B. and Wyse, L. 2011. Computer Mediated Visual Communication in Live Musical Performance: What’s the Score? Proceedings of the Second International ICST Conference on Arts and Technology. Esbjerg.Google Scholar
Wadley, G., Gibbs, M., Hew, K. and Graham, C. 2003. Computer Supported Cooperative Play, ‘Third Places’ and Online Videogames. In S. Viller and P. Wyeth (eds), Proceedings of the Thirteenth Australian Conference on Computer Human Interaction (OZCHI ’03) Queensland, 238–41.Google Scholar
Winkler, G. 2004. The Realtime-Score: A Missing Link in Computer-Music Performance. Proceedings of Sound and Music Computing Conference, Paris.Google Scholar
Winkler, G. 2010. The Real-Time-Score: Nucleus and Fluid Opus. Contemporary Music Review 29(1): 89–100.Google Scholar
Wyse, L. 2014. Anticipatory Score (open source code) https://github.com/lonce/AntScoreForSynth. Last accessed 20 April 2013.Google Scholar
Wyse, L. and Subramanian, S. K. 2013. The Viability of the Web Browser as a Computer Music Platform. Computer Music Journal 37(4).Google Scholar