1,721,037 research outputs found
Notation as Process: Interpretation of Open Scores and the ‘Journey Form’
Get PDFThe performances which inform this discussion of graphic, text, and open notation took place between 2010 and 2014, and primarily from February to May 2014. Since 2010 I have commissioned and performed twenty new works for the organ, and for the organ and fixed media or organ and live electronics, with a special focus on scores which contain some element of open notation. In addition to new commissions I have also performed a number of works suitable for organ (and electronics) which have been composed during this time, primarily by British composers. This has allowed me to become highly involved in the process of the creation of the music from the point of the commission to the performance, including the possibility of discussion with the composers before the composition of the work, collaboration during its composition and in preparation for the performances, and ongoing evaluation throughout the process. The nature of organ performance is that radical differences in instrumental sound, construction, and concert space and acoustic are experienced from location to location and this has encouraged constant re-evaluation of the music and its performance as the music has travelled; this aspect of the experience of performing these pieces has encouraged further reflection, and it is from these experiences and this reflection that this discussion draws its information. Although the individual process of preparation and interpretation of open notation may be seen to be personal and individual from performer to performer, I wish to address the ways in which repeated performances of open scores reveal something about the compositions themselves and the interpretative process of engaging with the notation. It is the contention of this chapter that interpretation, in the context of this notation, is not a singular and linear process which begins when the performer first comes into contact with the score and ends with the performance, but an ongoing and iterative process, and a process which involves the composer, performer, and the score at every instance. This discussion will, then, seek to address the ‘work concept’ in the case of music, and to define the ‘work’ as a proces
A Common Method? Distributed Creativity in Composition and/as Practice Research
Get PDFThis chapter examines compositional agency, practice research, and collaboration in some recent projects. It employs a socio-semiotic model, derived from Actor Network Theory (ANT) and similar to that taken by Rosalind Krauss in her exploration of Sculpture in the Expanded Field, to demonstrate and explore the collaborative and other relationships in these projects. This reflection intends to show how the multiple roles that I, and others, enact in collaborative projects overlap, and considers which relationships and contexts have been most fruitful to my practice research. I have worked as a composer in all of these situations, although my research as a whole also comprises “traditional” (written) research and performance, which also intersect with these projects. While the labels “musicologist”, “composer”, “performer”, or “improviser” might easily be applied to individuals at various points during the projects described, this chapter contends that these describe aspects of those individuals at a particular time, but should not necessarily be used to divide the practices of individuals into discrete sets of activity. This observation has implications for the expectations of individuals when they collaborate, as I will discuss
Collaborative and Distributed Processing in Contemporary Music-Making: Overview
Get PDFIntroduction to the book of the same titll
Diapason: Music for Organ and Electronics
No full textDiapason: New Music for Organ and Electronics presents music that has been commissioned and curated by Lauren Redhead from 2010-2014. In 2014 she, and Alistair Zaldua, toured a programme of music, co-produced by Sound and Music, for Organ+Electronics in the UK. This CD presents the highlights of that tour, and the results of collaborations between the organist and the composers: the music explores many facets of the possibilities for the combination, including fixed media sound and live electronics; explorations of space and acoustics; considerations of the history and tuning of the organ; and music with possibilities for performer flexibility and improvisation. Each composer takes a unique, but related, approach to the organ as an instrument, considering its sonic and acoustic, properties, and this is also reflected in the wide variety of approaches to electronic sound in the works. Whilst the combination of organ+electronics will not be a familiar one to all listeners, this CD offers 8 new perspectives on the organ that will nevertheless offer moments of familiarity
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
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