Small Brain Records [Animated Score]

The goal of the animated score project is to compose pieces in which the visual quality, and the performance of the score are of equal value.

Phase One

In this phase I plan to write pieces to be performed by the general public with minimum training, with or without computer accompaniment embedded in the score.

interactive guide to notation [requires flash]

Follow the Lederhosen

performance notes:
this piece is for a minimum of 25 performers, a lesser effect can be obtained with six or more. performers should consider the third run through the piece, as the final performance.
this piece takes advantage of the dominant voices in a group. as the pitch deviates from the starting pitch performers have to rely on their interpretive skills, and will cluster around the dominant voices, creating unique branching.

An animated score would be viewed by both the performers, and the audience, either on a tv, or projected, depending on the setting.
With a large enough group of performers I expect that a piece should be actualized around a statistical norm. By increasing my ability to predict the responses of my performing population I could write as objective a piece as one could with traditional music notation.
I would like to integrate both stage direction (movement of performers), and audience participation into the animated score. Ultimately composing a piece that involves both audience participation in the music, and movement of the traditional performers on and off stage (physically interacting with the audiences space).
A strong command of color and shape will create a score that will satisfy the viewer without any reference to the music. A viewer should be able to find in the score a visual play between the elements that will draw them in to the theme of the piece.
A finished composition would be able to effectively guide the performers, and be a visual work of art. If viewed out of the context of a performance I would like the score to stand on its own as a purely visual piece.

Deep In Here

performance notes:

this piece is for a minimum of nine performers, divided randomly into three groups.

lyrics (from the poem "Deep in Here", by William Kelso):

Deep in here the sun won’t shine
before the day is ended.
Hammering the fog, your time
is forged upon a coin to spend it.
We move through the concrete zones
ghosting form, apeing sound, making movies.
Tails tell of an earlier foam
being light, being waves moving through me.
Fall down, stand up and cross the I-beam,
buildings and satellites.
Too long in flight before a day-dream,
our heads have arrived tonight.

The following are group exercises

example of notation for planetarium dome.

excerpt from cello trio, for the Madeline Shapiro concert

early guidance of Mark Sullivan, Joseph Kuszai, and Fred Frith.

Web bibliogrphy of sorts:

http://homepage1.nifty.com/iberia/score_gallery.htm

http://www.geometry.net/composers/cardew_cornelius.php

http://www.newalbion.com/artists/fossl/

http://users.unimi.it/~gpiana/serra03.jpg

http://www.geocities.com/dsmcompositions/index.html

http://turbulence.org/Works/song/

http://www.musanim.com/

http://www.creatingmusic.com/

created by: jim ryan

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	The Animated Score Project by jim ryan
	The goal of the animated score project is to compose pieces in which the visual quality, and the performance of the score are of equal value. Phase One In this phase I plan to write pieces to be performed by the general public with minimum training, with or without computer accompaniment embedded in the score. interactive guide to notation [requires flash] Follow the Lederhosen performance notes: this piece is for a minimum of 25 performers, a lesser effect can be obtained with six or more. performers should consider the third run through the piece, as the final performance. this piece takes advantage of the dominant voices in a group. as the pitch deviates from the starting pitch performers have to rely on their interpretive skills, and will cluster around the dominant voices, creating unique branching. An animated score would be viewed by both the performers, and the audience, either on a tv, or projected, depending on the setting. With a large enough group of performers I expect that a piece should be actualized around a statistical norm. By increasing my ability to predict the responses of my performing population I could write as objective a piece as one could with traditional music notation. I would like to integrate both stage direction (movement of performers), and audience participation into the animated score. Ultimately composing a piece that involves both audience participation in the music, and movement of the traditional performers on and off stage (physically interacting with the audiences space). A strong command of color and shape will create a score that will satisfy the viewer without any reference to the music. A viewer should be able to find in the score a visual play between the elements that will draw them in to the theme of the piece. A finished composition would be able to effectively guide the performers, and be a visual work of art. If viewed out of the context of a performance I would like the score to stand on its own as a purely visual piece. Deep In Here performance notes: this piece is for a minimum of nine performers, divided randomly into three groups. lyrics (from the poem "Deep in Here", by William Kelso): Deep in here the sun won’t shine before the day is ended. Hammering the fog, your time is forged upon a coin to spend it. We move through the concrete zones ghosting form, apeing sound, making movies. Tails tell of an earlier foam being light, being waves moving through me. Fall down, stand up and cross the I-beam, buildings and satellites. Too long in flight before a day-dream, our heads have arrived tonight. The following are group exercises Volumes performance notes: each players acoustic volume follows the area of their rectangle. example of notation for planetarium dome. excerpt from cello trio, for the Madeline Shapiro concert early guidance of Mark Sullivan, Joseph Kuszai, and Fred Frith. Web bibliogrphy of sorts: http://homepage1.nifty.com/iberia/score_gallery.htm http://www.geometry.net/composers/cardew_cornelius.php http://www.newalbion.com/artists/fossl/ http://users.unimi.it/~gpiana/serra03.jpg http://www.geocities.com/dsmcompositions/index.html http://turbulence.org/Works/song/ http://www.musanim.com/ http://www.creatingmusic.com/ created by: jim ryan home