The text itself - read by Australian/French artist Emmanuelle Zagoria - becomes the gesture that is curved in time. The spoken phrases are transduced for the two percussionists into gestures exploring their cadence and timbre via varied instruments and notational approaches.
Jean Genet's The Miracle of the Rose made a great impression on me many years ago. Recently I discovered a very old photocopy I had made of a short passage of the work wedged in a photo album from the 80s. In it Genet considers the mastery of time through the performance of gestures with infinite slowness - that "Eternity flows into the curve of a gesture". This text on the time-altering nature of solitary confinement forms the basis of my work for Sound Collectors. The text itself - read by Australian/French artist Emmanuelle Zagoria - becomes the gesture that is curved in time. The spoken phrases are transduced for the two percussionists into gestures exploring their cadence and timbre via varied instruments and notational approaches. The notation is gradually accumulating conventions. In the passage below player 2 occupies the lower half of the page. The notation indicates the amplitude of the sound (the vertical height), the timbral richness (hue), onset of event (stem) and direction of the bow (beam). The upper half of the score (player 1) the notation indicates event onset, timbre and direction in the same way and the beam type also indicates a cymbal roll. Rhythms played on the "5 objects" are notated more-or-less traditionally. In the passage above the 2nd player is bowing 5 different keys on the vibraphone (pitches have not yet been added). The 1st player is lowering a medium-sized chain onto the keys of a second vibraphone. The red note-heads and the beams indication lowering the chain onto the keys and orange note-heads (and beams) indicate lifting the chain off the key (both of which produce sound).
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in nomine tenebris makes use of the new OSC communication features of the Scoreplayer. The addition of OSC communication allows for the coordination of functions that were previously independently conducted by the iPad and computer, most crucially audio processing. The current implementation reports the score position via OSC as a number between 0 and 1 (where 0 is the first frame of the score and 1 is the last) in the format /Control/Tick 0.445. The amount of time elapsed can therefore be calculated by multiplying this number by the duration of the score. In this way audio processing can be cued by the position of the score itself. Conversely, the score can be repositioned by sending a /Control/Seek 0.5 message to the iPad (see below). Other currently implemented control commands are /Control/Play (start score), /Control/Reset (stop and reset score) and /Control/SetDuration (change the duration of the work). Additional commands will be added for the requirements of individual scores. in nomine tenebris uses this function to align the scrolling score (based on a sonoogram) with a recording its a re-sonification, by using the position of the audio file (reported by snapshot~) to control the position of the score. The contours of four of the instrumental parts are used to determine the spatialization of the audio over 8 speakers (see below) The audio processing patch for in nomine tenebris Instrumental part contours (Left) used to control spatialisation of the audio image (Right).
After two weeks, over 110GB and 26 hours of data, phase 1 of the eye-tracking project is complete. A big thanks to Tristen Parr, Aaron Wyatt, Louise Devenish, Kirsten Smith, Phil Waldron, Michael Terren, Josh Webster and especially Stuart James for staring at the screen so diligently. We tested traditional notation, semantic and non-semantic graphical scores in scrolling, 2D-scrolling, rhizomatic, segmented, subtractive and generative formats. Hopefully many interesting findings ahead on the effectiveness and functionality of screen-scores. 8 Hits Broadcast 10:30pm, Sat 01 Nov 2014 FREE CONCERT - Vanessa Tomlinson plays for you LIVE Presented by Julian Day Vanessa Tomlinson is one-half of the innovative and energetic ensemble Clocked Out and also heads the percussion department at the Queensland Conservatorium Griffith University. Tonight she plays eight new works for percussion and electronics before an intimate audience in Brisbane ABC's Studio 420. The composers are Natasha Anderson, Erik Griswold, Cat Hope, Rosemary Joy, Peter Knight, Kate Neal, Lindsay Vickery and Vanessa Tomlinson herself. If you'd like to be in the audience Just come to the ABC's studio 420 in Brisbane ABC's Southbank Centre before 9.15pm. You'll need to be seated by 9.25pm when the doors close for the broadcast, beginning at 9.30pm Brisbane time. Help us kick off ABC Radio's Australian Music Month with a bang. The concert (including your applause) will be heard live-to-air at 10.30pm Eastern Standard Time, and around the country at 10.30pm local time. Read more about the pieces here Silent Revolution on ABCFM WESTERN 4: VICKERY - SILENT REVOLUTION Written Fri 31 Oct 2014 Heavy themes and a brooding atmosphere. Presented by Stephen Adams In five short years Decibel have emerged as one of Australia's foremost concert music experimenters. In this podcast series we feature 'The Western Australian Composers Project' - all new music by Decibel members and other emerging and established composers from the west working in areas as diverse as pop, jazz and electronica. This week, the music is Silent Revolution by Decibel's master of winds, clarinettist and saxophonist Lindsay Vickery. The performers are: Aaron Wyatt, viola; Tristen Parr, cello and Cat Hope, double bass, with electronics controlled by Stuart James and the composer Lindsay Vickery. Recorded at PICA (the Perth Institute of Contemporary Art) last year by ABC Classic FM sound engineer Gavin Fernie and producer Karl Akers. some sonograph pictures on the electronic part of in nomine tenebris for decibel. The electronics we made by taking a sonograph of Scelsi's In Nomine Lucis, (1974) stretching, warping and distorting it in the visual domain and then resonifying it. preliminary mono recording of the electronics |
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