Faculty of Computing, Engineering and Media
Permanent URI for this community
Browse
Browsing Faculty of Computing, Engineering and Media by Type "Musical Score"
Now showing 1 - 20 of 35
Results Per Page
Sort Options
Item Open Access A-political piece(2018-04-03) Landy, LeighThis composition, for one or more sudophones, involves 'statements by one or more known contemporary politicians, ideally a text(s) that would amuse or stun the audience under normal circumstances' played via a 'dirty electronics' instrument which will make comprehension virtually impossible. It is made as part of the 'Creative Europe' Programme Interfaces project.Item Open Access Item Open Access Black Cats and Blues CD liner notes(Metier Records, 2019-10-14) Vear, CraigComposed by Craig Vear, professor of digital performance and music at De Montfort University in Leicester, England, the work (to put it very simply) is an interaction between an electronically generated score and an improvising cellist. The initial digital score sends the compositional idea to the player, who can then explore defined boundaries and materials, and introduce rerecorded sound (and in live performance, video). Its various movements are based on the 1949 book Blues for a Black Cat and Other Stories by Boris Vian and aim to recreate in sound the imaginative realm created by the book, influenced also by jazz and the esoteric aesthetic of ’pataphysics.Item Metadata only Dirty Electronics Colossus - BEAST: Pantry Sessions Hand-made Music(2015-12-10) Richards, JohnTake part in a large-group performance that questions our relationship with coding and sound generation. Ideas such as tangible and collective coding will be explored along with DIY electronics. A hybrid digital/analogue device will be built: a miniature ‘computer’, microprocessor control system that can be programmed and live coded by touching parts of the circuit board; and a voltage controlled feedback circuit. A dozen miniature programmable sound generating devices will be amassed and set in sync. Synchronisation will slowly unravel to leave an asynchronous interaction between the devices and a complex texture of interlocking and ‘dissonant’ patterns. The title of the work is taken from the gigantic mainframe computer of Bletchley Park that is considered to be the first digital programmable computer.Item Metadata only Dirty Electronics: Capacity(2015-09-15) Richards, JohnA two-day exploration into the world of electronic circuits, sound-making and choreography. Capacity looks at the very essence of electronic circuits: the humble capacitor and the flow of electric current. The capacitor (condenser) is seen as a metaphor for momentarily holding on to an energy that is transient and fleeting. A choreography is also suggested that studies the dichotomy of charging and discharging and how energy can be created, held and dissipated. Attendees are invited to build an electronic sound circuit that becomes the starting point for choreography. A fluid interchangeable workspace will be created: dance studio will become laboratory and vice versa. There is no distinction made between builder, sound-maker or choreographer, but a philosophy is adopted where building and investigating the electronic circuit and sound object becomes part of the performance practice. The building process brings the performer closer to the object and serves as an analysis of circuit ‘behaviour’. From this analysis and investigation, a choreography is formed that encourages the performer to look beyond the ‘self’ toward an object-orientated ontology.Item Metadata only Dreamscape(2011) Emmerson, SimonI wrote down a text describing a dream on the 11th April 2001. I see and hear music for piano, harpsichord and electronics – it suggests a piece based on the idea of resonance and changing colours. The visual description of electronic surfaces I think is metaphorical. This suggests the role of the electronics would be to extend, colour and embellish – and amplification would be used to balance the two instruments. In the dream I heard sounds that contrasted yet were integrated in the same sonic space. When at some time in 2010 the opportunity arose for me to write this piece for Keynote+ I remembered the dream and started to elaborate the idea. Stockhausen (Refrain), Cage (Etudes Australes) and some Feldman lie behind some of the sense of time and space. But I always write for specific performers – I have written two works for Jane Chapman (Points of Departure (1993) and Time-Space (with baroque flute) (2001) both with electronics) and Kate Ryder has recently performed Shades (of Night and Day) (1989) – and small hints of these appear. The final work is a lot more developed than the dream sketch – though something of this remains in three ‘chorales’, at the beginning, middle and end. Spatialisation is multichannel (though a ‘touring version’ with simplified projection is available) enveloping the audience in ‘spatialised colour’.Item Metadata only E Pluribus Plures(2021-02-15) Landy, LeighCommissioned by the Musicacoustica Festival, Beijing, this 18'45 work uses material from recordings of traditional music from across the globe and recomposes them to celebrate cultural diversity and mutual respect. It combines tradition with experimental renewal.Item Open Access Five Compositions(Tidskriften Plir, 2014-06) Andean, JamesItem Metadata only The Five, for vibraphone and responsive audiovisuals(Bat Hat Media, 2015-09) Battey, B.The Five, written for percussionist Andrew Spencer, is a spoken-text, music and moving-image work inspired by chapter 12 of the 1500 year-old Chinese Taoist text Tao Teh Ching. More information is available at http://BatHatMedia.com/Gallery/thefive.html .Item Metadata only 'Fragile' Soundtrack(2015-07-25) Smith, SophyMotionhouse launched its newly commissioned large-scale outdoor show Fragile in Glasgow on 25 & 26 July to be seen again on 29 & 30 August in Canterbury ay bOing! Festival. This family-friendly outdoor show is a dramatic performance of agility, precision and strength, with an original soundtrack by Sophy Smith and Tim Dickinson. The show features Motionhouse dancers who were joined by a team of highly skilled JBC operators, Motionhouse apprentices and a group of local emerging artists from Glasgow. Fragile is co-commissioned by Conflux, Merchant City Festival and Gulbenkian, University of Kent, with support from Creative Scotland, Glasgow City Council, Arts Council England and sponsored by Scot JCB and AB 2000. The newly created work builds on Motionhouse’s previous innovation between dancers and the JCB machines.Item Metadata only Game of Hymns(Bat Hat Media, 2015) Battey, B."Game of Hymns" provides an improvisation framework for a "live remix" of three hymns that would be common for traditional English community bands to perform: Bread of Heaven, Rock of Ages, and Old 100th. In the spirit of Terry Riley's classic In C, the scores provide basic musical materials and a set of written and graphical-notation pathways, rules and suggestions for how to move through the material. More information is available at http://BatHatMedia.com/Gallery/gameoh.htmlItem Metadata only Gravitational Landscape (with tinnitus)(2016-04-27) Dahan, KevinGravitational Landscape is an experiment made of algorithmic procedures drawn from mathematics and/or physical laws (what happens when you compose without musical references?) using mainly unstable sound synthesis techniques (what happens when you compose without ears?). The aim of this piece is to explore rough textures, sounds and resonances (somes reminiscent of certain computer music compositions...) - and to bring in even more 'raw' chaos! Due to the uncertain nature - for music - of the techniques involved, it has been a constant struggle to find the correct parameters to prevent most of Thom's catastrophic singularities (hopefully avoiding a week-long tinnitus for listeners).Item Metadata only Hidden Sine(2015-05-12) Richards, JohnHidden Sine explores self-made instruments and large group performance, and ‘sound curious’ that are concerned with the way of the hand, touch and affordance (action possibilities). Hidden Sine draws loosely on object orientated philosophy and theory of affordances. The premise is that an object may have artistic/sound potential, often hidden, that can be revealed through investigation and praxis. This investigation operates on a number of levels covering sound, plastic arts and actions/theatre. The building of circuits and sound devices is also seen as a method for creating a tabula rasa, and how the idea of delegated performance, where instruments are played by ‘non-experts’, serves to establish a naive approach and authenticity in performance.Item Metadata only HM <–> B(2025-02-22) Landy, LeighThis short work was composed for the composer, Robert Normandeau's 70th birthday. One special thing that Robert and I have in common is an interest in the late E. German playwright, Heiner Müller (HM). Robert created a marvellous adaptation of Müller’s ‘Hamlet Machine’ (HM, 1977, Normandeau, 2001 – theatre enthusiasts continue to discuss the coincidence). I worked closely with Mülller for the decade running up to the fall of the Berlin Wall. One piece for which I made a sound design for its premiere was ‘Bildbeschreibung’ (1984, description of an image), an even more experimental work than HM as it is just a description, no characters, no play text, in short, a reduction of theatre. I further reduced the work and created ‘B’ (1986), a three-channel piece with live voice cutting up and recomposing ‘Bildbeschreibung’. ‘HM <-> B’ is 70 seconds (happy birthday, Robert) of both pieces superimposed with the final ‘B’ sample taken from later in the piece, ‘die Willkür der Komposition’ (the randomness of composition).Item Metadata only Horn & Bells(2015-07-13) Richards, JohnTaking inspiration from Capsule’s artwork for the Supersonic 2015 edition. Build a three-dimensional sound-object with printed circuit board artwork, and DIY piezo flared horn that omits bursts of noise and generative electronic bell-like sounds. Composition through exploring bell change ringing patterns and sound circuit creation through ugly construction techniques.Item Metadata only Magnetic Resonance(2018-02-20) Young, John'Magnetic Resonance' (2017) was created for pianist Xenia Pestova and the magnetic resonator piano developed by Andrew McPherson at the Queen Mary University of London. The magnetic resonator mechanism is a non-invasive extension of the instrument that can be applied to any grand piano. It allows for infinite resonance of piano tones beyond the normal attack-decay model of the instrument, but also permits conventional performance at any time. This work exploits this 'hybrid' nature of the instrument as well as its capacity to produce tones without the attack-based morphology produced by the hammers. The work's harmonic structure is enhanced with the integration of 8 channels of electroacoustic sound. These convey further expanded energy profiles and spectral constructs and project the piano-centric sonority into an immersive sound field. They are triggered by the pianist in real-time using the MIDI output of the instrument's Moog Piano Bar.Item Metadata only Meditation(2020-02) Atkinson, SimonItem Metadata only Microvariations (in memoriam Jonathan Harvey)(2014) Emmerson, SimonThe work consists of 35 short sections of music covering all the possibilities of the combinations of the instruments, each varying short fragments and gestures. The variations move through ‘local’ harmonies and tone colours – which are revealed in the end to be part of one large spectral sound space. The live electronics sample and freeze sounds, spatialise and immerse the audience. Jonathan Harvey was always an inspiration – I knew him for nearly 40 years as musician and friend. Especially in the field of electronic music he showed that the relationship of humanity and technology could be positive and enriching.Item Metadata only Microvariations II(2015) Emmerson, SimonMicrovariations (in memoriam Jonathan Harvey) for instrumental quintet and live electronics was originally commissioned by Sond'Ar-te Ensemble (Lisbon) and first performed in March 2014. I compose at the piano and during the composition of this first version I repeatedly had the feeling there was a piano piece waiting to get out! In November and December 2014 I reworked the material into this new work Microvariations II. It was always intended as a gift to Philip Mead. The variations move through ‘local’ harmonies and tone colours – which are revealed in the end to be part of one large spectral sound space. The live electronics sample and freeze sounds, spatialise and immerse the audience. Jonathan Harvey was always an inspiration – I knew him for nearly 40 years as musician and friend. Especially in the field of electronic music he showed that the relationship of humanity and technology could be positive and enriching.Item Metadata only Nocturne (2020)(2020-06) Atkinson, Simon