This research developed 3 distinct approaches for creating real-time music notation. Software was developed in MAX for: representation of sonic environments in a spectrographic score (EVP, Lyrebird); representation of rhythmic data from speech recordings (Semantics of Redaction); and in MAX and XCode for a networked, generative and interactive conducting environment (Tectonic: Rodinia).Lyrebird employs an "strongest sinusoid" spectrogram coloured according to real-time brightness, noisiness and bark scale analysis allowing contours and timbral shifts to be read as a score. The notation for Semantics is created by detection of speech accents to generate graphical symbols of varying vertical position, size and colour, determined by a realtime analysis of audio data at the accent point. In both works the score is synchronised with source the recording allowing the performer to "play the recording". In Rodinia four composer/conductors control separate streams of graphical notation and audio (comprising live instruments reading the notation and their processed audio components) that interact in game-like environment. Rodinia also amalgamates the notation from each stream into a single score, the “Audience View”, to be shown on a large screen behind the performers for both the audience and the conductors.Lyrebird and Semantic of Redaction were commsioned by Vanessa Tomlinson and developed during her residency at the Orpheus Instituut Ghent in December 2013. Rodinia was completed as part of a DAAD residency at the Hochschule für Theater und Musik, Hamburg. The works have been performed in Los Angeles (CalArts), New York (Stonybrook), Hartford (Hartt School), Hamburg (HfMT), Reykjavik (Dark Music Days), Denton (ICMC), Prague (Skolska 28), Aveiro (Universidade de Aveiro), Porto (Universidade Católica Portuguesa), ABC Southbank Centre, Queensland Conservatorium, Melbourne (ANAM), Canberra (ANU), Perth State Theatre Centre by Vanessa Tomlinson, Brian Smith, Lindsay Vickery, Hamish Upton, Decibel, Clocked Out and others. The research formed the basis for papers in the journal Contemporary Music Review and TENOR, International and Australasian Computer Music conferences.
Publications
Vickery, L. (2017). Visualising the Sonic Environment. Australasian Computer Music Conference 2017, Adelaide, 43-50.
Vickery, L., James, S., (2016). Tectonic: a networked, generative and interactive, conducting environment for iPad. Proc. of the 42nd Int. Comp. Music Conf., Utrecht, The Netherlands, 542-547.
Vickery, L., (2015). An Approach to the Generation of Real-time Notation via Audio Analysis: The Semantics of Redaction. Looking Back, Looking Forward: Proc. of the Int. Comp. Music Conf. 2015, Denton Texas, 360-363.
Vickery, L. (2017). Visualising the Sonic Environment. Australasian Computer Music Conference 2017, Adelaide, 43-50.
Vickery, L., James, S., (2016). Tectonic: a networked, generative and interactive, conducting environment for iPad. Proc. of the 42nd Int. Comp. Music Conf., Utrecht, The Netherlands, 542-547.
Vickery, L., (2015). An Approach to the Generation of Real-time Notation via Audio Analysis: The Semantics of Redaction. Looking Back, Looking Forward: Proc. of the Int. Comp. Music Conf. 2015, Denton Texas, 360-363.
