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Jordan Elquist, shown extended — with scroll ends unrolled — Nine Inch Nails, "La Mer" (from "The Fragile" album) detail
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- dimensions
Music scroll or sections. If sections indicating "measures," eight inches square, any number. If scroll, six inches by (minimum) 36 inches, vertical or horizontal orientation.
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- considerations
warm and cool hues. complementary colors —
colors that are opposite each other on the color wheel, such as blue and orange, red and green, purple and yellow. when used side-by-side, make each other appear brighter when mixed, they neutralize each other —
gray scale values thickness (thinness) intensity, darkness. (depth, compression). layers (revealed by cutting out? subtraction?) center on "stage," with some attention to position of instrument (voice). left, right. overlap. overlap of values, hues, chromas (saturations) how many voices?
music is not abstract, particularly in performance where players relate with (battle against, accommodate) each other.
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Ashley DeAngelis detail
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music notation — as score map for performance map of experience chamber group on stage from side (timeline) from top (timeline) from ceiling (?)
notes. durations. textures (timbre). color. time.
repetition — of elements in frame of frames (fields, squares) the relationship of those different "frequencies" rhythms in parallel, at angles (and on curves); rhythms not in parallel (like marching bands, moving through each other ?)
see Eric's Slide Rule Site (click on "slide rule collection")
the driving metaphor — entries and exits speed near misses collisions overtaking passing lane changes tailgating onramps offramps glance at bridges, buildings to side sampling
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- discussion
A familiar cognate exercise focuses exclusively on color issues, and underplays the diagrammatic concerns that motivate the present work. These diagrammatic translations of sound into visual form play a visual spectrum — between notation at one end and poetic expression at the other.
Our solutions incorporated color (hue, value, chroma/saturation) to differing degrees.
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Carol St. Sauveur detail
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- Cage, John. Notations. New York; West Glover, Vt., Something Else Press, 1969.
Facsimiles of holographs from the Foundation for Contemporary Performance Arts, with text by 269 composers, but rearranged using "chance operations."
Montserrat Library LC : REF ML 96.4 C33
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The Visual Context of Music — historical and contemporary examples, links and blog; and
- the many leads available via
Notations 21, including
score samples
for example, Leon Schidlowsky,
Homage to Picasso and
Hans-Christoph Steiner, solitude.
- Snyder, Bob. Music and memory : an introduction. Cambridge, Mass.: MIT Press, 2000.
Glossary was useful for this exercise, e.g., its definitions of attack, chunking, decay, and the distinctions it draws between short-term ("limited to around 5-9 elements, or one 'chunk'") and long-term (episodic and semantic) memory.
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11 december 07
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