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The trouble with rhizomes...

30/4/2016

In the sense proposed by Deleuze and Guatarri, some of the earliest examples of rhizomatic works in Western Art music, include, Karlheinz Stockhausen Klavierstück XI [1956], John Cage Concert for Piano [1958], Pierre Boulez Third Piano Sonata [1963-], Mauricio Kagel Prima Vista [1962-3] and Earle Brown Event Synergy II [1967]. (It is perhaps notable that it was not necessary to negotiate functional harmony in a rhizomatic context in any of these works). These are works allowing for a multiplicity of re-orderings of different but determinate pathways to be explored, not simply exhibiting the non-linear “asignifying ruptures” found in Stravinsky’s Symphonies of Wind Instruments [1920] [19] or Charles Ives Holidays Symphony [1913] [D. Thurmaier. Time and Compositional Process in Charles Ives’s Holidays Symphony. PhD Indiana University, 2006, 26-82. ], or “lines of flight” [J. Gilbert. Deleuze and Music. Edinburgh U.P., 2004] as found in jazz improvisation [J. Barham. Rhizomes and plateaus: Rethinking jazz historiography and the jazz-‘classical’ relationship. Jazz Res. J., 3, 2, 2010, 171-202. ].
Boulez, for example, describes the Third Piano Sonata as a Labyrinth, in which,

The itinerary is left to the interpreter’s initiative, he must direct himself through a tight network of routes. This form, which is both fixed and mobile, is situated, because of this ambiguity, in the centre of the work for which it serves as a pivot, as a centre of gravity [P. Boulez. Sonate, que me veux-tu?. Perspectives of New  Music, 1, 2, 1963, 32–44: 41].

A number of problems beset the first generation of paper-based rhizomatic scores:

since the audience always experiences the works in a linear fashion, sequentially in time, their indeterminacy is unverifiable: the audience cannot compare the pathways chosen to those that were not. In this sense, the rhizomatic qualities are evident to the performer(s) alone;
performances are arguably undermined by the fact that any particular instantiation may have been potentially been less satisfying than another;
there can be no overarching cartographical representation of its the structural potentials for the audience inhibiting communication of the structural/performative principles in play;
the length and complexity of alternate “pathways” are limited to passages accommodated by the printed score (Klavierstück XI uses a very large sheet of paper (53 x 94 cm), and a balsa wood frame to stand it upright);
the quality of “immanent choice” that is one of the affordances of a rhizomatic structure, can only be executed by a single performer unless conductor(s) are used, (Event Synergy II), otherwise the route through the structure must be pre-determined (Concert for Piano, Third Piano Sonata, Prima Vista);
indicating and limiting the number of potential connections between pathways is extremely difficult;
Western music notation is almost exclusively read horizontally from left to right, meaning that pathways remain on a single plane and cannot easily be joined together 2-dimensionally;
although pathways may consist of varied musical materials and therefore result in diverse musical outcomes, the sounds themselves remain situated in the instruments that make them, excluding the possibility of communication of the rhizomatic structure through the form-bearing [S. McAdams. Psychological Constraints on Form-Bearing Dimensions in Music. Contemporary Music Review, 4, 1, 1989, 181-198.] parameter of spatialisation.

As Žižek noted in relation to the cinematic qualities of novels immediately prior to the emergence of film, the burst of rhizomatic musical works in the 1960s seems “to point towards a new technology that will be able to serve as a more ‘natural’ and appropriate “objective correlative” [S. Žižek. The Art of the Ridiculous Sublime. Seattle Washington: University of Washington Press, 2000, 39.]. The appropriate technology was graphical computing, but its emergence was still more than 30 years away and compositional concerns moved on to other diverse issues including Spectralism and Minimalism. Despite the permeation of rhizomatic concepts in New Media [R. W. Sweeny. Dysfunction and Decentralization in New Media Art and Education. Fishponds: Bristol, 2015, 79-108] and literature [G. P. Landow. Hypertext 3.0: Critical Theory and New Media in an Era of Globalization. Johns Hopkins U.P., 2006.] from the 1990s onward, musical notation proved stubbornly resistant to adaptation to the screen.

Early in 2015 OSC communication was implemented for the Decibel Scoreplayer [C. Hope, A. Wyatt, & L. Vickery. The Decibel Scoreplayer: Enriched Scores for the iPad. Proc. of the 2015 ICM Conference, Denton TX, 2015] allowing for works combining the scoreplayer with synchronized audio processing and spatialisation on a networked computer. This re-opened the possibility for exploring rhizomatic scores with synchronized audio processing and for controlling the movements of the instruments in structurally significant ways

To address these issues a computer-coordinated solution to the problems of rhizomatic presentation of musical compositions with live performers was developed allowing for the creation of precise, unique but variable, multiple versions of rhizomatic works, in which the both the audience and the performers share in the exploratory immanent choice available in this approach, and spatialisation and digital processing are aligned directly to the emerging formal structure.

Although each of the works Ubahn c. 1985: the Rosenberg Variations [2012], The Last Years [2012], Sacrificial Zones [2014], detritus [2015] and trash vortex [2015] utilizes a rhizomatic score comprising a network of connections, the formal structures that emerge in a performance derive from the manner in which the performers traverse the score.

Ubahn is the most programmatic of the works and its structure mirrors this in a game-like manner. The individual parts are free to move around the map unless they reach the 'Alexanderplatz' node at which point they are switched to the East German Ubahn system (the black lines in the top right hand corner of Fig. to the left). Upon transfer to the “Eastern Block” their screen is replaced with a “Graffiti Score” (comprising elements of the East German national anthem overlaid with drawings and images by Jon Rose). The performers play the graffiti score as a piece of indeterminate graphic notation. When all players have reached East

Berlin the graffiti score begins to peel away revealing a five part harmonization of the East German national anthem in traditional notation, which they perform to end the work. Ubahn then, is a concatenative structure [A. Coenen. Stockhausen's Paradigm: A Survey of His Theories.  Perspectives of New Music, 32, 2, 1994, 200-225.] comprising a freely rhizomatic first section, an indeterminate graphic notation section and a final traditionally notated section. The rhizomatic section has an idiosyncratic form in the sense that the pathway materials are quiet and combine together as a background layer, while the nodal points contain soloistic material. This arrangement highlights the nodal points and provides a contrasting, indeterminate texture.

detritus explores the “territorializing” [G. Deleuze, & F. Guattari. A Thousand Plateaus: Capitalism  and schizophrenia. Minneapolis, University  of Minnesota Press, 1987: 317. ] idea of the refrain, an element of rhizomatic structure also discussed by Deleuze and Guattari. They state that the refrain “organizes a limited space around a center in order to keep “the forces of chaos” outside as much as possible” [ibid]. In detritus the score always commences from the same point, a distinctive passage lasting about 10 seconds. At the conclusion of this passage the pathways trifurcate and continue to progressively proliferate. The structure emerges as a consequence of the repetition of this process for different periods of time (between 19 and 145 seconds), allowing a variety of pathways to be charted.
In this way the consequence of the rhizomatic score structure can be emphasized through the exposition of diverse outcomes originating from the same starting point. The use of a Refrain acts against what Deleuze and Guattari would call the ‘deterritorializing’ effect of indeterminate movement through the rhizomatic score structure.
Each performer in detritus has separate parts. The parts are horizontally (temporally) coordinated in the fashion typical of traditional music. This means that when the performers move together their parts are audibly more synchronized than when they are independent of one another. The semantic graphical score was assembled using rhythms and pitch contours from fragments (detritus) of a traditionally notated ensemble piece, cities sunk in endless slumber [2012] for violin, clarinet and piano.

trash vortex takes something of an inverse approach: each part eventually converges upon successive nodes in the rhizomatic score. As the pathways taken from one node to the next vary in duration, each player pauses once a node is reached, “hovering” there until all players have joined them. Tracking the trajectories of each player allows for electronic processing to reinforce the stasis of successive players through emphasis on spectral manipulation of their sound. This structure might be termed a ‘Convergent Nodal’ form, and is a unique implication of rhizomatic structure.

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spatialising field recordings

16/4/2016

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small waves raised by the evening combines components of the field recording of bullfrogs with spectrally frozen sections, using Eric Lyon’s thresher~ object to highlight amplitudinally prominent frequencies, with the source recording. Spatial depth was emulated by separating sonic features in different frequency bands into multiple channels with a series of frequency tracking patches developed by the composer in MaxMSP. As no actual spatial data was derived from the stereo field recording, the channels were then to spatialised according to their frequency (azimuth) and amplitude (distance) in the object ambipanning~.

Lindsay Vickery small waves raised by the evening [2016] (excerpt).

A number approaches to frequency tracking were explored: manual frequency tracking, by annotating the spectrogram with multiple function objects and then retrieving the data by inputting the position of the audiofile as reported by snapshot~ to control the centre frequency of bandpass filters (Figure below); Automated frequency tracking controlling the bandpass filters’ centre frequency via frequencies derived from spectral anaylsis conducted using the sigmund~ object; and “ecological niche” tracking drawing on Krause’ theory which asserts that “animal and insect vocalisations tend to occupy small bands of frequencies leaving “spectral niches” (bands of little or no energy) into which the vocalisations (fundamental and formants) of other animals, birds or insects can fit.” (Wrightson, K. 2000. “Introduction to Acoustic Ecology”. Soundscape-The Journal of Acoustic Ecology, 1(1), pp. 10-13. p. 11).

Manual frequency tracking by annotating the spectrogram with multiple function objects to automate the centre frequency of bandpass filters.

Audacity’s “Plot Spectrum” function.

This theory would suggest that band passing at particular frequencies will tend to capture divergent features of the sonic environment, Audacity’s Plot Spectrum function (Figure to the left) was used to determine the niche frequency bands in the recording and then bandpass filters were applied separately to each band.
These frequency tracking processes are similar to conventional Audio Expansion, however the complexity and the uniform spread of amplitudes from increasingly distant sources that are common in most field recordings, render poor results from conventional expansion.

Perhaps unsurprisingly then, the manual method for frequency tracking proved to be the most effective of those explored.
It could be argued that manual designation of the band pass frequencies adds a ‘human’ layer to the process in contradiction to the eco-structural aims of deriving all data from the environment itself. However, the process is no less of an intervention than choosing sonic features to be emulated by acoustic instruments and indeed, in this case, was achived through similar means: visual detection of features from a spectrogram. The approach is perhaps analogous to the ‘Cocktail Party Effect’ (Pollack, I. and J. Pickett. 1957. “Cocktail Party Effect”. Journal of the Acoustical Society of America 29 p. 1262) a feature of the human auditory perception in which conscious auditory attention allows for pre-semantic attenuation of signals in a complex environment.

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Reading Spectrographic scores with Lyrebird... some evaluation.

16/4/2016

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The figures below explore the effectiveness of these objectives through the comparison spectrograms of the source field recordings and the performances of a number of musicians. The spectrograms depict comparable frequency ranges, although the performer spectrograms are uniformly an octave lower than those of the field recording. The titles of the recordings are those given by the original recordist Philip Kenworthy.
The Figure to the right compares the field recording Bullfrogs and Rainstorm with a pianist’s performance. The performer’s relationship to Lyrebird is the most “score-like”, in that the pitch, rhythmic and dynamic contours of the bullfrog croaks from the field recording are adhered to with a great deal of precision.

Bullfrogs and Rainstorm: comparison between (a) field recording 339-899Hz and (b) piano performance 161-457Hz.

Kookaburra Sunrise: comparison between (a) field recording 279-7558Hz and (b) piano performance 129-3752Hz.

The task is perhaps simplified because the pitch range of the croaks is limited to about 3 semitones, however the spectrogram indicates that this method of synchronisation of the recording and the performance is effective in this instance.
In a case where a more complex sound environment comprising a range of birdsongs is used, such as the figure on the right, the task is considerably more complex. Birdsongs are often too high pitched and rapid to be emulated entirely accurately. Lyrebird aims to provide information at a human scale showing the contour of extremely rapid birdcalls rather than precise detail.
Here the same pianist aims to portray three bands of activity in different ranges and is successful until the bands have simultaneous activity (about half-way through the figure), at which point activity in the highest band is ignored.

In a complex environment such as the recording Whistlers and Crickets (Figure to the right) there is too much data for the performer to emulate the complete environment. Again the performer, this time on bass clarinet chooses specific features to emulate. A potential solution to the emulation of complex environments is the use of networked players displaying activity in different bands for a number of performers.
Lyrebird does not represent the sonic events on a grid to indicate frequency, and it is evident that the performer here “overshoots” the high frequency events, performing them about an octave too high in relation to the lower pitched layers.

Whistlers and Crickets: comparison between (a) field recording 376-4785Hz and (b) bass clarinet performance 183-2088Hz.

Whistlers and Crickets: comparison between (a) field 1447-15896Hz recording and (b) percussion performance 720-7939Hz.

In the Figure to the left, the performer’s aim was to interact with the recording through both emulation and improvisation. The field recording spectrogram shows the gradual fading of repetitive cricket sounds, followed by a prominent birdcall.
The percussionist emulates only the birdcall and then mimics the cricket sounds once they have ceased. The passage suggests that Lyrebird can provide and effective representation of the sonic environment that allows the performer to interact by taking over features from the recording.

Lyrebird allows for interaction with pre-recorded non-anthropogenic sound environments. The degree to which an interaction is meaningful is self-evidently dependent on the performer(s) abilities. Examples of this work can be heard at (https://lindsayvickery.bandcamp.com/album/works-for-instruments-and-field-recordings). However, unlike many musical experiences the potential for precise synchronisation of a performer with seemingly indeterminate sonic events arguably has an intrinsically interesting quality. The evaluation of the accuracy of performer emulation is something of an end in itself, and this includes both the degree of acoustic reproduction of the sounds (as demonstrated in the figures above) and the performer’s ability to “enter into” the soundworld of the recording through improvisation.

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nature forms II

27/11/2015

Nature Forms II (2015) explores the possibility of recursive re-interrogation of a field recording through visualization and resonification/resynthesis via machine and performative means. In Nature Forms II a range of forms of representation are used including semantic graphical notation, percussion notation and a hybrid form of sonogram notation. This most literal form of representation is the process I have previously termed the “spectral trace” in which notation is drawn directly onto the spectrogram to represent features of the field recording to be performed by an ensemble of flute (orange), clarinet (red), viola (green) and cello (blue).

“Spectral Trace” notation from Nature Forms II

The graphical symbols are presented on a proportional staff created to solve the problem that horizontally, the spectral trace is temporally proportional and performing with precision can be achieved through a scrolling score, however it is also vertically proportional – each pitch occupies a distinct vertical spatial position.

Vertically proportional stave showing a chromatic scale from E3 to F4.

The system was developed for the work here, apparently, there was time for everything [2015], and attempted to more-or-less retain the topographical layout of the traditional stave, while adding coloured lines to accommodate non-natural notes. A second approach draws on the concept and techniques developed in EVP (2011) and Lyrebird: Environment Player (2014).

The amplitude of the frequency of the single strongest detected sinusoidal peak in a recording is represented by the size of the rectangles drawn on a scrolling LCD obect (in this case jit.lcd). The “lyrebird” generative score process was also employed in Nature Forms II, to create high, middle and low frequency visualisations of the field recording.

Detail from the high frequency “lyrebird” score of Nature Forms II [2015] (excerpt).

Percussion part for Nature Forms II created using the generative score software “Semantics of Redaction” (excerpt).

The final form of visualization in Nature Forms II is derived from the work Semantic of Redaction (2014) in which notation in generated by using accents detected in a speech recording in real-time to generate graphical symbols of varying vertical position, size and colour, determined by the frequency, amplitude and timbre of a speech recording at the accent point. In Nature Forms II the software detects accepts created by sharp attacks such as the chirping of crickets.

A number of approaches to sonfication/resynthesis are used in Nature Forms II. The first is an additive synthesis approach using a patch called Sinereader to resonify greyscale spectrogram images .

Spectrogram of additive synthesis from Nature Forms II (excerpt).

Spectrogram of Ring Modulation synthesis from Nature Forms II (excerpt).

Processes were also developed to resynthesise sounds using spectral analysis. In the first process, the strongest sinusoidal component detected each 40ms of the recording were resynthesized with a sinewave that was ring-modulated according to the currently detected brightness of the recording. The aim was to retain the amplitude of sonic features of field recording while maintaining and equivalent brightness.

This method is also used in portions of the performance to ring modulated the instruments via live processing to mimic the parametric brightness of the field recording by subtracting the brightness of the live instruments from that of the field recording to derive a ring modulation value.

Spectrogram of subtractive synthesis from Nature Forms II (excerpt).

Subtractive synthesis was also employed by using frequency and amplitude detected in the recording to bandpass white-noise. At the opening of Nature Forms II “coloured noise” performed by the instrumentalists is gradually shaped into the sonic structure of the field recording using subtractive synthesis, and then cross-faded with the source recording.

Nature Forms II explores the notion of eco-structuralism, maintaining what Opie and Brown (2006) term the “primary rules” of “environmentally-based musical composition”: that “structures must be derived from natural sound sources” and that “structural data must remain in series”.
The structure of the original work is conserved using the approach discussed in the miracle of the rose, where the temporal proportionality of the recording is retained by aligning multiple notation and resynthesis versions of the recording in visual representations that can be alternated or combined in the creation process of the score, processing and fixed media.
The work also uses “spectral freezing” of components of the field recording to create spectrally derived chords from features of the recording bird sounds and a rusty gate which are then transcribed into notation for the instrumentalists and temporal manipulation of the recording to allow complex bird calls to be emulated in a human time-scale.

Visual representation of temporally proportional alignment of multiple resynthesis (a.- e.) and notation (e. – h) versions of the recording in Nature Forms II (excerpt): a. field recording spectrogram; b. additive synthesis spectrogram; c. ring modulation resythesis spectrogram; d. subtractive synthesis spectrogram; e. spectral “freeze” sonogram/score f. “lyre- bird score; g. “semantics of redaction” score; and h. “spectral trace” score.

Recording generated with data from the source field recording using additive, subtractive and ring modulation resynthesis.

two rhizomes

21/10/2015

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In Ubahn c. 1985: the Rosenberg Variations [2012] a rhizomatic, rather than single plane score model was also introduced to the Decibel Scoreplayer, in which interlinked staves (or paths) could be freely traversed by the score-reader. Two new works trash vortex [2015] and detritus [2015], feature scores comprising three layers: a graphical score, a rhizomatic path and a image collage (left). The “path” layer periodically (and indeterminately) becomes transparent causing the graphical score to appear to "submerge" into the background collage - making it more challenging for the performers to read. The scores (in the Decibel Scoreplayer) send messages about the “path” layer's status via OSC to a MaxMSP audio processing patch, which in turn alters the audio processing of the live instruments to reflect the state of the score.

Layered arrangement of Graphical score, Rhizomatic Path and Background Image Collage in trash vortex.

detritus "audience view".

The player supports two forms of "view": the "audience view" a projection for the audience of the rhizomatic network map, with dots representing each performers' position in the score;

detritus "performer view" (path faded in)

trash vortex "performer view" (path faded out).

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Audio processing from sound and image in ...with the fishes...

21/10/2015

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The score for ..with the fishes.. [2015] was built in a series of tableaux: oil rigs, flood, nuclear leak, deep sea, jellyfish/methane, submerged city, trash vortex. The tableaux were joined into a long image and then a score for viola, cello and double bass was then added on another layer. The score contained several references to musical objects: a recurring ship’s bell and several passages from Debussy’s La Mer. At an early stage of development of the work the instruments were recorded separately performing the notation and also performing passages with only the visual images from the tableaux. Once all of these elements had been created and had fixed temporal positions – the position of the scrolling score and the position of the recorded performances – they could be further developed through a range of interactions.

(above) Spectrogram of ship’s bell and b. notation of ship’s bell in the score of …with the fishes…

(above) The MaxMSP function object mapped to contours of the score background image to control spectral manipulation of live performers and pitchbend spectrally “frozen” (with resent~) loop of Debussy’s La Mer in …with the fishes…

The temporally fixed notation and audio allowed the process to proceed in a manner akin to manipulating audio in a DAW: processing strategies could be auditioned; data could be derived from the score and used to control audio processing, pre-processed audio could be added and so forth.
At the simplest level the sound of a ship’s bell was aligned with notation derived from a spectrogram of the same ships bell and short processed passages from Roger Désormière’s classic 1950 recording of La Mer were aligned with the short quotations from the work.

The processing included convolution between sonifications of the score image and the performance of the same image by the musicians to produce hybrid sounds combining both machine and performer realisations of the images. The original image (a.) is compared to the spectrogram of the convolution between sonifications of the image and its performance by the musicians (b.) are shown to the left.

(Right) Image of Fukishima radioactive leak and b. spectrogram of convolution of instrumental reading of the image and sonification of the image in …with the fishes…

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residual drift [2015]

23/8/2015

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to commemorate the 50th anniversary of Varésè' death a work was created using the composer's percussion work Ionisation as a source. Apart from alluding to the origin of the piece from the residue of a Varésè work, the title uses terms from particle physics which perhaps bear the same "fantastic" qualities in our own time that the term ionisation did in 1931.
In theory residual drift could be performed in conjunction with a performance of the source work. A sonogram of a recording of Ionisation was used to generate a score and accompanying pre-recorded electronics. The image of the sonogram was rendered in illustrator focussing on the range of the bass flute C2-around C4. Because sonograms are probably least effective at visualizing percussive works, features such as snare drum rolls appear as continuous pitches. This deficit was put to use in transforming Ionisation into a score for a solo instrument that makes its sound through "continuous" (as opposed to discrete) actions. The first few seconds of the Ionisation sonogram and the score of residual drift are shown below (note the "piano roll" style pitch indication is used as a "playhead" for the scrolling score to orientate the performer.

The sonogram was processed in Photoshop and then Illustrator to further "smooth" the features and to reduce hue variation. The bass flute graphical score was rendered in broadly three hues, corresponding to varied tonal qualities of the bass flute: normal tone, diffuse tone and noise/breath. In performance the method of rendering these qualities is determined by the performer. The instrument is amplified to accentuate these tonal variations.

A sonogram of the sonification rendered by Photoshop.

A sonogram of the sonification rendered by Illustrator.

A sonogram of the false harmonics sonification.

The electronic component was rendered by resonifying the sonogram using processes first developed for my work
unhörbares wird hörbar [2013] and discussed here and here. Originally a long file (24294px) was used generating 38 minutes of audio that was compressed to 8 minutes, but finally a short 4859 px version was sonified creating an audio file of roughly 8 minutes without compression. The change was made to avoid the continuous "flutter and wow"-like effects created by compressing the file by a factor of five.
The final version of the electronics part incorporates three versions of the sonification: processed by photoshop, processed by illustrator with added false harmonics and a version featuring a sonogram of just the upper harmonics of the recording (which were excluded in the image used to make the score). The high harmonics version prominently features the imprint of Ionisation's characteristic sirens.

Because the resonification software I built renders the audio in a mono file the audio was also spatialised using a process similar to that used in my work in nomine tenebris [2014] - that is detected pitches in to audio file were used to spatialize the mono track. Detected pitches were also used to generate "false harmonics" in one of the recordings by ring modulating the audio multiple times to add higher but related upper frequencies.
The three audio files were mixed together with some EQ and audio compression to create the final electronic part. The scrolling score and audio file are both played in the Decibel Scoreplayer. The work was written for and is dedicated to Cat Hope.

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evolution of the score for between-states

12/8/2015

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12 transformations of acoustic bass flute and bass clarinet recordings were created using various audio processing ideas I've been exploring. The transformations were then edited leaving the most interesting outcomes still in their original temporal position - and therefore all relating back to the source acoustic recording (see right). The audio was mixed down and a score was created from a sonogram of the resulting track. The initial idea was to construct a notated score from the sonogram. The process involved annotating the sonogram as a MIDI-layer in Sonic Visualiser and then exporting the MIDI-file and audio to Finale notation software for score editing.

patchwork of recordings of audio transformations

between-states audio sonogram (detail)

score created in Finale from MIDI-annotated sonogram (detail)

Unfortunately in this case I was unable to develop a satisfactory accommodation between the degree of detail in the score and the scroll-rate required to read it: if it was over-detailed it had to move too quickly to accurately read. For the first performance a simplified sonogram score (below) was used with a pitch-guide fixed at the left of the page. The pitch-guide replaced the single-line "playhead" that is used in most scrolling scores in the Decibel Scoreplayer. I had used the same approach to read Percy Grainger's Free music in the mac version of the score player (and this had later been coded into the iOS version by Aaron Wyatt. The pitch-guide had the advantage of providing more detail to the performers more "morphological" information about the sonic shapes and could also be scrolled more slowly than a conventional score. However in this version each player was allowed to choose which shape they would render with their instrument.

simplified sonogram score (detail)

The (possibly) final version of the score identifies sounds to be performed by each performer (bass flute - red, bass clarinet - green) and contains text annotations and hue variations to represent different timbres. Since the parts are more defined the full (unsimplified) sonogram is able to be re-added giving the performers a greater indication of the context in which their sounds are heard.

annotated sonogram score (detail) "pitch-guide" to the left

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new recording of web of indra [1993]

6/8/2015

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Web of Indra [1993] originally written for Magnetic Pig got a dust off from the trio Mixt. In this acoustic version of the work percussionist Paul Tanner also manages to work some magic emulating the cello part. This is their rough mix of the recording. Thanks guys!

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