Point studies no. 2 (2013) for any two PITCHED instruments and computer
Excerpt from point studies no. 2 (2013)
poINT STUDIES NO. 6 (2016) FOR STRING QUARTET
Ensemble TonArt performance of point studies no. 6 (2016)
64x4x4 (2017) for string quartet
Score excerpts from 64x4x4 (2017)
UNTITLED WORK FOR PIANO AND HOLOLENS
Projection mapped score example
point studies no.2 (2013) for any two pitched instruments and computer, continues a series of pieces in which a musical space is articulated by a distribution of points representing various musical parameters. In point studies no. 2, these points are figuratively indicated in a three-dimensional musical score generated in real-time by a MaxMSP/Jitter patch. In the score, which varies from performance to performance, pitches are represented by points of different color and are connected by line segments, indicating durations, of various lengths. Performers navigate their way through the score, which slowly transforms during the course of the work, and are accompanied by electronically generated sounds that are developed along similar principles to those through which the performers interpret the score.
point studies no. 6 (2016) for string quartet continues an exploration of the musical possibilities of graphic, open-form scores generated in real time. In the work, performers interpret a set of twenty-four concentric rings each of which contains a rotating radial terminated at each end by nodes of various colors. A series of other colored nodes appears on the concentric rings as the score develops, the color of which denotes various natural harmonics. Various aleatoric processes are used in the generation of the scores primitive materials which creates low-level variations in each realization of the score. point studies no. 6 received it's premiere by Ensemble TonArt in Hamburg in September, 2016.
64x4x4 (2017) for string quartet continues an exploration of the musical possibilities of graphic, open-form scores generated in real time. Each member of the quartet is presented with a unique, shifting view of a three-dimensional grid of colored nodes which represent various natural harmonics. The nodes are connected by a series of thin lines the color of which denote the strings on which the harmonics are to be performed. The live performance of the quartet is accompanied by a computer generated reading of the score built from prerecorded string samples with the form of the work emerging as a result of these explorations of the work’s generative structure.
The work for which I am seeking an Australia Council grant features a 3D projection mapped score presented for the pianist on the HoloLens. The still image at left provides an example of how such a score might look for the pianist. Musical events are denoted by graphic symbols with placement on the keyboard dynamically shifting and unfolding as the piece develops. While the mapping of graphic symbols to musical parameters has yet to be completely determined, it is likely that the placement of nodes will correspond to pitch, their height to dynamics, and the lines connecting them to duration. Colors have yet to be mapped.