1,720,978 research outputs found

    Dynamic Landscapes by Elsa Kitching

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    Dynamic Landscapes is an innovative VR game designed to engage players in musical improvisation through gameplay. The core concept involves players using their vocal talents to control their in-game character. By singing different notes, players navigate and explore a virtual landscape, employing both long and short notes to move and jump. The game also features obstacles and non-playable characters (NPCs) that challenge players to replicate note sequences. Successful replication gains players NPC followers, who sing their note sequences together in harmony behind the player. As players amass more followers, harmonies grow richer, providing a platform for players to sing along and draw inspiration. Each level introduces new landscapes and note patterns, creating a dynamic gameplay experience. Although players may not initially realise it, the game effectively serves as a digital score, encouraging improvised musical performances

    Kaleidoscore

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    Kaleidoscore is a digital score created through a Neoscore platform by composer Lauren McCall. The digital score incorporates digital images, shapes and key codes sending OSC messages in Neoscore to trigger 4 backing track samples in the Max MSP patch. A sense of duality is built through the imagery of the digital score such as changing colours, triangles and squares and the relationship between the two performers. When the shapes change colour it could represent a change between different dissonant material with each player. The digital score is fairly open with just a few instructions such as to play consonant sounds on flower imagery or when the notes appear without stems. The project was realised with the novel digital score platform Neoscore and was supported by Andrew Yoon and Craig Vear and commissioned through the Digital Score project

    Cullithumpian Ensemble commissions

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    DigiScore project was happy to support 2 commissions through our University of Concordia (Canada) partner Sandeep Bhagwati. These works were Tendons for Transformation by Kitty Xiao and Path/Fields by Ingrid Laubrock. Both of the digital scores shared a degree of openness which included structured improvisation where performers’ agency was welcomed as an interpretive approac

    Composing Embodied Presence in a Chamber Music Context

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    This thesis comprises a body of works, and a written commentary, which can be anchored within an expanded field of chamber music. This field embraces not only notated music but also electronics, and has a strong focus on physical gesture. The extra-musical aspect of composition with physical gestures in my works pushes my compositional concerns towards interdisciplinarity, thus challenging the ontological boundaries of the musical work. In the commentary, I examine how a process of signification with extra musical elements like physical gestures as explicit material for composition could take place in chamber music. My work necessitates collaboration in order to arrive at an embodied knowledge of technique and practice where I treat physical gestures and performers’ bodies as material for composition. Through extensive collaboration I also dislocate the implicit hierarchies within the ontology of the musical work, thus motioning towards a new ontology where performers have autonomy to make creative contributions to the work. This new form of ontology already manifests itself in my music, particularly when presented in an electronic music context with gestural controllers, which I address in Chapter 3 using the metaphor of the cyborg. The interdisciplinary aspect of my compositions with physical gesture amplifies the performer’s presence on stage, thus challenging the codes associated with the ritual of Western concert music performance. Through the portfolio of works, I demonstrate gestural considerations that oscillate between two sensory concerns: the aural and the visual. At the end of my PhD, I embraced processes of listening in order to generate new instances of embodied movement in reaction to sound in an interdisciplinary collaboration with theatre performers. The insight from this project informs my current compositional process in chamber music where emphasis is placed on the perception of sound in a chamber music context. Thus, the ritual of concert performance also undergoes changes in order to satisfy the enquiry for embodiment and movement of sound in space

    GuitaRPG

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    GuitaRPG is a digital score created by musician Xavier Davenport using the Neoscore platform. It combines music with game-like elements, such as role-playing and skill acquisition. The performer navigates through different regions in the digital score, each with its own unique influences and colour palette. In each region, the performer must incorporate specific elements and guitar techniques to progress through the piece. The more regions the performer explores, the more complex the guitar techniques become. The player has control over the duration of their stay in each region, allowing for both macro and micro involvement. Macro involvement involves navigating the map to find specific materials, while micro involvement entails engaging with regions through playing techniques as they randomly appear. The visual materials change in density and colour, controlled by a weighted algorithm, creating a sense of exploration and improvisation for the performer. The project was realised using the Neoscore platform, with support from Andrew Yoon and Craig Vear, and was commissioned through the Digital Score project
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