lindsay vickery
  • lv
  • music
    • listen
    • Works by Instrumentation
    • Works by Concept
    • 2014 onwards >
      • music 2022
      • music 2021
      • music2020
      • music2019
      • music 2018
      • music 2017
      • music 2016
      • music 2015
      • music 2014
    • music 2009-2013 >
      • music 2013
      • music 2012
      • music 2011
      • music 2010
      • music 2009
    • music 1997-2008 >
      • music 2004-8
      • music 2003
      • music 2002
      • music 2001
      • music 2000
      • music 1998-9
      • music 1997
    • music 1985-1996 >
      • music 1995-6
      • music 1993-4
      • music 1991-92
      • music 1988-90
      • music 1985-87
  • writing
    • Research Projects >
      • screening the score >
        • scrolling notation
        • rhizomatic scores
      • expanded music notation
      • realtime notation
      • scoring field recordings
      • spectral analysis as a compositional tool
      • computer controlled performance environment
    • research >
      • research 2021
      • research 2020
      • research 2019
      • research 2018
      • research 2017
      • research 2016
      • research 2015
      • research 2014
      • research 2013
      • research 2011-12
      • research 2008-10
      • research 2001-04
    • teXts
    • presentations
  • performance
    • performance 2017- >
      • performance 2022
      • performance 2021
      • performance 2020
      • performance 2019
      • performance 2018
      • performance 2017
    • performance 2009-16 >
      • performance 2016
      • performance 2015
      • performance 2014
      • performance 2013
      • performance 2012
      • performance 2011
      • performance 2010
      • performance 2009
    • performance 1997-2008 >
      • performance 2005-8
      • performance 2004
      • performance 2003
      • performance 2002
      • performance 2001
      • performance 2000
      • performance 1999
      • performance 1998
      • performance 1997
    • performance 1985-1996 >
      • performance 1992-6
      • performance to 1991
    • solo performance
  • gallery
    • scoreplayerscores
    • environmental scores
    • nature forms
    • landscapes
    • graphic scores
    • schematics
    • spectrograms
    • oddities
  • POI
  • Blog
  • Blag

Indeterminate but definable formal structure 

30/5/2014

0 Comments

 
Semantics of Redaction includes a panel allowing the performer to define the work's formal structure independently for each performance. Clicking on the "calculate" button "randomly" sets the proportional duration and ordering (except for the opening and closing) of sections. As the behaviour and "orchestration" of each section is different, this allows the possibility of exploring different formal structures even if the performance is based on the same source recording.To the left are several versions.
Picture
Picture
Picture
0 Comments

semantics of redaction developments

30/5/2014

0 Comments

 
A little demonstration of semantics of redaction for solo percussionist. Any speech recording may be loaded into the player and appropriate percussion instruments chosen (for example clown horns and flexatone : ) ). The scoreplayer transcribes accents from the speech as percussion hits, distributing high pitched accents at the top of the screen. brightness and noisiness of the accents are transcribed as luminance and shade of the note head. The amplitude of the accent is transcribed as the size of the notehead. Percussion instruments are arranged spatially and colour-coded yellow (high-pitched instruments), orange, red, green and blue (low-pitched instruments).
0 Comments

eye-tracking II

20/5/2014

0 Comments

 
Some more tests with the Tobii eye-tracker. Below is the Brahms Clarinet Sonata (with which I'm very familiar) and to the left is the Weber Clarinet Quintet (which I am sight-reading). It appears that the fixations are more frequent and shorter in the sight-reading task than for familiar music.
Picture
Picture
Picture
Unfortunately we were unable (this time) to export the movie files showing the fixations as the score scrolled, however the data tends to confirm that fixations tend to cluster around the "play-head" of the score. 
Unlike the Brahms and Weber, silent revolution (2013) (left) and agilus, mimoid, symmetriad (2013) (below), are both scrolling scores, so the image is just a single frame of the score with the gaze frame data for about 3 minutes superimposed over the top.
Picture
One issue of interest to me in the case of silent revolution, was whether the images would be fixated upon in addition to the notation. This particular reading seems to indicate that they are not directly looked at by the performer. It is an issue that might be more fully revealed by reading the whole score and additionally may be idiosyncratic for each reader.
In transit of venus (2009) (right) different musical parameters (sound shape, pitch, dynamic etc) are distributed across the page and the gaze plot shows that the eye moved frequently between them as expected, at least twice stopping to look at the graphic on the left which does not contain any performance instructions.
Picture
Picture
The final example is from Improbable Games (2010) (left). This work is laid out (and read) like a traditional score, however each measure is continually "refreshed" with new material. The eye movements appear to be much the same as those for a traditional score. The scroll-bar below each measure indicates the rate at which the music should be read. Since the scroll-bar is not fixated upon directly it may be that the performer is able to follow its position in peripheral vision.
0 Comments

colours and lyrebirds

17/5/2014

0 Comments

 
The eye contains only three kinds of colour detecting cone cells: red, green and blue. Colours that fall between them appear perceptually brighter. The “height/lightness” of spectral colours is also inverted in comparison to the pitch spectrum: higher frequency colours are perceived as darker and heavier. The picture below shows the response curves of RGB cones mapped to the colour spectrum and illustrates how the "lighter" anomalies occur at the mid-points between them.
Picture
Lyrebird at present allows for the following mappings of timbral brightness to hue. The spectra below depict a test tone of increasing brightness, noisiness and bark scale depicted by a variety of mappings.
Picture
Picture
In addition to functioning as a score player for filed recordings, Lyrebird my have some application as a tool for feature analysis of electroacoustic works.   Below are some sample mappings of Pierre Schaeffer's Etude au Chemin de Fer, in which contours and timbral shifts are readily recognisable. The scroll-rate is slowed to 200ms/px so that the entire work can be seen in a single pane. Interestingly although the mappings "YORVIB" and "YGBIV" appear to give the best illusion of gradation between light and dark they don't necessarily provide the best results for this particular bit of sound. 
Picture
0 Comments

(re)sonification and its discontents

9/5/2014

0 Comments

 
Picture
Ablinger: Phonorealism
Spectral analysis data from recordings is “reconstituted in various media: instrumental ensembles, white noise, or computer-controlled player piano.
The Speaking Piano
"The reproduction of "phonographs" by instruments can be compared to photo-realist painting, or - what describes the technical aspect of the "Quadraturen" more precisely -with techniques in the graphic arts that use grids to transform photos into prints Using a smaller grain, e.g. 16 units per second, the original source approaches the border of recognition within the reproduction." Ablinger, P., (2011). Quadraturen 1995-2000.

The thing that is interesting about sonification/visualisation/re-sonfication/re-visualisation (etc) is not only the distortion it creates, but also how, like the sponge that can be passed through a sieve but will reconstitute itself, the transfer from one modality to another (and back) retains elements of form. 
In Nature Forms I, the visual representation of natural shapes is passed through the distorting mirrors of three performers and a computer. Four contrasting forms of reading/sonifcation are presented for the audience: machine sonification in which spatial position and colour are more or less precisely rendered; tablature in which spatial position and colour are recast against the geography of a specific instrument; semantic reading in which the performer’s understanding of notational conventions informs the outcome; and aesthetic reading in which the performer’s understanding of the conventions of sonic representation of broader conceptual issues are drawn upon. 
Software written in MaxMSP sonifies the score  each vertical pixel of a grayscale version of the spectrogram to 613 independent sinewaves at a horizontal rate of 25 pixels per second (See Figure 3). In the patch a .png file of the sonogram is loaded into a jit.qt.movie, it is then played through jit.matrix and jit.submatrix that send an image of one pixel width to the jit.pwindow. Data from the submatrix is split into a list of 613 values in jit.spill and these values are represented in a mutlislider. The vertical pixels are scaled logarithmically between 8 and 6645hz (the highest represented frequency in the sonogram and just beyond the highest pitch attainable by the ensemble) and mapped to an individual cycle~ object. The grayscale value of each pixel is scales and mapped to the amplitude of each cycle~ object. A comparison between sonograms of the soundfile of the original source recording and the re-sonified version indicate (See detail left). (see the while sonfication at http://www.youtube.com/watch?v=gLew15g7B9A).
Picture
Picture
0 Comments

some tablature notation ideas

9/5/2014

0 Comments

 
following conversations with michael terren, josten myburgh and dane yates - some ideas for representing drum kit and no-imput mixer tablature notation spatially (so the notation is where the instruments are) and proportionally (so that horizontal space=time) - for scrolling scores.
spatial/proportional drum kit notation
Picture
spatial/proportional no-input mixer notation
Picture
0 Comments

    lindsay vickery

    test version

    Categories

    All

    Archives

    September 2020
    October 2019
    September 2018
    August 2018
    March 2018
    October 2017
    September 2017
    May 2016
    April 2016
    November 2015
    October 2015
    August 2015
    June 2015
    April 2015
    March 2015
    December 2014
    October 2014
    September 2014
    August 2014
    July 2014
    June 2014
    May 2014
    April 2014
    March 2014
    February 2014
    January 2014
    December 2013
    October 2013
    September 2013
    August 2013
    July 2013
    June 2013
    May 2013
    April 2013
    March 2013

    RSS Feed

Proudly powered by Weebly