The research involved the creation and performance of works exploring potentials and possibilities of scrolling notation as a means for syncronously conveying performance data of different types and coordinating recordings and electronic audio processing. The approaches included morphological (Agilus, Mimoid, Symmetriad [2012]), gestural (The Miracle of the Rose [2015]) spoken word (Resonance manifestations) and proportional (here, apparently [2015]) notation; and "graphic novel" style illustration of scores (Silent Revolution [2013] and ...with the fishes...[2015])Techniques developed include the proportional vertical and horizontal presentation of instruments in a full score and a vertically proportional stave; methods of visualising metrical hierarchy and tempo changes in a scrolling score; stems located to the left of note heads to aid synchronous reading, the use of beam inclination to indicate up and downstroke attacks; thin beams are used to indicate the movement of the performers between gestures; notation was created using generative spectral notation to indicate the amplitude of the sound (the vertical height), the timbral richness (hue), onset of event (stem) and direction of the bow (beam) and a method for generating text of varying size and contour on the computer screen. A Max-based bridge communicating iPad score position data in realtime was developed to synchronise presentation notation to the musicians; and allow for automation of audio processing, monitoring of signals from each player, levels from each processing patch, and transitions through different processes in relation to the performer's progress through the score. The interchangeability of sonification and visualisation techniques within a temporal framework developed by the author was key to the several of the works including contour details from the collage image to be mapped to control realtime manipulation of the live performers; audio files of the musician’s performances of sonifications of visual images were cross-processed to produce hybrid sounds combining both machine and performer realisations of the images.The works were performed in New York (The Firehouse), Los Angeles (CalArts), Krakow (Audio Art Festival), Kosice (Dig Gallery), Reykjavik (Dark Music Days), Kuala Lumpur (Switch On Mini Festival), Sydney (ISEA), Brisbane (APG) and Perth (PICA). The research formed the basis for papers in the journals Organised Sound, Contemporary Music Review and TENOR, International and Australasian Computer Music conferences.
Publications
James, S., Hope, C., Vickery, L., Wyatt, A., Carey, B., Fu, X. and Hajdu, G. (2017). Establishing connectivity between the existing networked music notation packages Quintet.net, Decibel ScorePlayer and MaxScore. Proc. of Tenor 2017 Conf., Univ. of A Coruña, Spain.
Hope, C., Vickery, L., (2015). The Decibel Scoreplayer - a Digital Tool for Reading Graphic Notation. TENOR 2015: Int. Conf. on Technologies for Music Notation and Representation, Paris, 59-69.
Vickery, L., Goh, T., (2015). Music Screen-Reading: indicative results from two pilot studies. ACMC2015 - MAKE!: Proc. of the Annual Conf. of the Australasian Comp. Music Association, 119-125.
Hope, C., Wyatt, A., Vickery, L., (2015). The Decibel ScorePlayer: New Developments and Improved Functionality. Proc. of the 41st Int. Comp. Music Conf. ICMC 2015 , 314-317, Denton, Texas.
Vickery, L., (2014). The Limitations of Representing Sound and Notation on Screen. Organised Sound, 19(3). Cambridge, UK. 215-227.
Hope,C.A., Vickery, L., (2011). Screen Scores: New Media Music Manuscripts. Proc. of the Int. Comp. Music Conf. 2011, Huddersfield, UK. 224-230.
Hope,C.A., Vickery, L., (2011). Visualising the Score: Screening Scores in Realtime Performance. Proc. of the Diegetic Life Form II: Creative Arts Practice and New Media Scholarship Conf., Murdoch Univ., Western Australia. Murdoch Univ., 7: 13p..
Hope, C., Vickery, L., (2010). The Aesthetics of the Screen Score. Proc. of the Createworld Conf. 2010, Griffith Univ., Brisbane.
Vickery, L., (2012). The Evolution of Notational Innovations from the Mobile Score to the Screen Score. Organised Sound. 17(2): 128-136.
Vickery, L., (2011). Screening the Score. Audible Designs. Cat Hope. Perth, Pica Press. 85-99.
James, S., Hope, C., Vickery, L., Wyatt, A., Carey, B., Fu, X. and Hajdu, G. (2017). Establishing connectivity between the existing networked music notation packages Quintet.net, Decibel ScorePlayer and MaxScore. Proc. of Tenor 2017 Conf., Univ. of A Coruña, Spain.
Hope, C., Vickery, L., (2015). The Decibel Scoreplayer - a Digital Tool for Reading Graphic Notation. TENOR 2015: Int. Conf. on Technologies for Music Notation and Representation, Paris, 59-69.
Vickery, L., Goh, T., (2015). Music Screen-Reading: indicative results from two pilot studies. ACMC2015 - MAKE!: Proc. of the Annual Conf. of the Australasian Comp. Music Association, 119-125.
Hope, C., Wyatt, A., Vickery, L., (2015). The Decibel ScorePlayer: New Developments and Improved Functionality. Proc. of the 41st Int. Comp. Music Conf. ICMC 2015 , 314-317, Denton, Texas.
Vickery, L., (2014). The Limitations of Representing Sound and Notation on Screen. Organised Sound, 19(3). Cambridge, UK. 215-227.
Hope,C.A., Vickery, L., (2011). Screen Scores: New Media Music Manuscripts. Proc. of the Int. Comp. Music Conf. 2011, Huddersfield, UK. 224-230.
Hope,C.A., Vickery, L., (2011). Visualising the Score: Screening Scores in Realtime Performance. Proc. of the Diegetic Life Form II: Creative Arts Practice and New Media Scholarship Conf., Murdoch Univ., Western Australia. Murdoch Univ., 7: 13p..
Hope, C., Vickery, L., (2010). The Aesthetics of the Screen Score. Proc. of the Createworld Conf. 2010, Griffith Univ., Brisbane.
Vickery, L., (2012). The Evolution of Notational Innovations from the Mobile Score to the Screen Score. Organised Sound. 17(2): 128-136.
Vickery, L., (2011). Screening the Score. Audible Designs. Cat Hope. Perth, Pica Press. 85-99.
