this weekend experienced a performance of a few of aaron bielish’s eyemusic scores.
That’s the thing. I feel you’re only showing half the notation if your aren’t including the instructions.
For improv music there’s no notation just instructions like. Zorn’s Cobra http://en.wikipedia.org/wiki/Cobra_(Zorn)
I guess improv games that should be a separate thread.
I’d love to see some of these ran through Daphne Oram’s Oramics machine, I beat it would be a hoot.
True, that instructions are important (sometimes)… Would love to see some interesting instruction based scores shared here as well!
But I personally am really interested in the sound/image/language relationship as it relates to the musical notation.
In any case, here is the Cobra instructions:
Cool. Cobra is a lot different than I imagined. Thanks for posting one.
haha very good ! thank you so much
‘recoat all the pinatas with marmelade until most of the ox drivers have discovered the tube of anti-matter won’t fit into some Barbie dolls’ it’s surrealism ! exquisite corpse imo
and ‘real big notes do not exist’ (i hear the x-files soundtrack right now)
btw : who was (is ?) John Stump ?
Here is a little background information on John Stump:
After a YouTube search for john stump I found this
On the ‘black midi’ front there’s this by Hans Tammen:
it sounds particularly good in the recording as you get a lot of mechanical noise from the player piano.
Although to be fair, it’s not so much a notational piece/concept as the project was done in Ableton. That’s just a sibelius ‘view’ of it.
Thanks for the Black Midi stuff.
I didn’t know it and am really interested in it.
Maybe I’ll try to ‘black’ an song myself.
Exceptional thread - I’ve seen lots of these before but great to see them collected together like this.
As this is my first post, I’m not sure if etiquette allows posting links to Vice…but here’s an article about a particular aspect of Black Midi, mentioned above
Vice Link - Caveat Emptor!
All this stuff is great! Musical notation is such an interesting topic – given the nature of music and feeling, trying to meld the quantitative and qualitative aspects together into something cohesive is a really interesting challenge.
While not directly music related (and I’m sure that lots of people have already seen it) this book is an amazing resource for the organization and communication of data: