Rhizomatic approaches to screen-based music notation

The rhizome concept explored by Deleuze and Guatarri has had an important influence on formal thinking in music and new media. This paper explores the development of rhizomatic musical scores that are arranged cartographically with nodal points allowing for alternate pathways to be traversed. The challenges of pre-digital exemplars of rhizomatic structure are discussed. It follows the development of concepts and technology used in the creation of five works by the author Ubahn c. 1985: the Rosenberg Variations [2012], The Last Years [2012], Sacrificial Zones [2014], detritus [2015] and trash vortex [2015]. this paper discusses the potential for the evolution of novel formal structures using rhizomatic structures

Retaining a sense of spontaneity in Free Jazz improvisation through music technology

The Free Jazz genre has many interpretations and takes different forms from one musician to another, which makes it difficult to define as a single entity. This paper focuses on the style pioneered by Ornette Coleman (b.1930) as his form is probably most well known. Whilst his could be considered one of the most spontaneous Jazz styles in terms of its improvisational language, it does come with its limitations. His Free Jazz improvisations whilst created in the moment, are not truly spontaneous as Coleman still relies heavily on the idiomatic Bebop ensemble culture, melodic language and formal structures in his music. This paper is an account of some attempts to retain a sense of spontaneity in Free Jazz improvisation by incorporating music technology. Through my own experiments and research I have found that through the use of live recording, sampling, processing and playback technologies, it is possible to surprise the improvisers with even their own musical ideas and hence inspire them to break away from using the idiomatic Bebop language. In this approach a laptop performer is employed in the ensemble, using live recording, sampling, processing and playback technologies to choose (in an uninformed manner) which materials will be explored in the group’s improvisations. This adds a layer of spontaneity as not only can the instrumentalists’ improvisations be replayed from any point, but also extended beyond the technical capabilities of the performer through electronic processing. Hence, not only are the opening improvisations spontaneous to the performance but so too are their development. The implications of this strategy, not only in creating original works, but also in the performance of ‘Jazz standards’ will be discussed

Systematic analysis of needs and requirements for the design of smart manufacturing systems in SMEs☆

Abstract With the increasing trend of the Fourth Industrial Revolution, also known as Industry 4.0 or smart manufacturing, many companies are now facing the challenge of implementing Industry 4.0 methods and technologies. This is a challenge especially for small and medium-sized enterprises, as they have neither sufficient human nor financial resources to deal with the topic sufficiently. However, since small and medium-sized enterprises form the backbone of the economy, it is particularly important to support these companies in the introduction of Industry 4.0 and to develop appropriate tools. This work is intended to fill this gap and to enhance research on Industry 4.0 for small and medium-sized enterprises by presenting an exploratory study that has been used to systematically analyze and evaluate the needs and translate them into a final list of (functional) requirements and constraints using axiomatic design as scientific approach

Reflections on the construction of meaning through immanent visual association

Since the advent of digital video editing and projection, multimedia presentation in the concert space is no longer exclusive to the music of stadiumsized popular music events. Increasingly, many in the field of new music are incorporating elements of mixed media presentation. Examples of this trend include performances across the spectrum of new music such as Sensorband, Nico Muhly, Leafcutter John, and more. This paper discusses the artistic and thematic accomplishments of four different approaches to audio-visual association before discussing the influences of these approaches, their incorporation or rejection, into my own work Red River. (Gillies, 2011

Tectonic: a networked, generative and interactive, conducting environment for iPad

This paper describes the concept, implementation and context of Tectonic: Rodinia for four realtime composer-conductoors and ensemble. In this work, an addition to the reqertoire of the Decibel Scoreplayer, iPads art networked together using the bonjour protocol to manage connectivity over the network. Unlike previous Scoreplayer works, Rodinia combines conductor view control interfaces, performer view notation interfaces and an audience view overview interface, separately identified by manual connection and yet mutually interactive. Notation is communicated to an ensemble via scores independently generated in realtime in each performer view and amalgamated schematically in the :audience view interface. Interaction in the work is enacted through a collision avoidant algorithm that modifies the choices of each conductor by deflecting the streams of notation according to evaluation of the Mass and proximity to other streams, reflecting the concept of shifting Tectonic plates that crush and reform each other\u27s placement

The Decibel ScorePlayer - A Digital Tool For Reading Graphic Notation

In 2009, the Decibel new music ensemble based in Perth, Western Australia was formed with an associated manifesto that stated “Decibel seek to dissolve any division between sound art, installation and music by focusing on the combination of acoustic and electronic instruments” [1]. The journey provided by this focus led to a range of investigations into different score types, resulting in a re-writing of the groups statement to “pioneering electronic score formats, incorporating mobile score formats and networked coordination performance environments” [2]. This paper outlines the development of Decibel’s work with the ‘screen score’, including the different stages of the ‘Decibel ScorePlayer’, an application (App) for reading graphic notation on the iPad. The paper proposes that the Decibel ScorePlayer App provides a new, more accurate and reliable way to coordinate performances of music where harmony and pulse are not the primary elements described by notation. It features a discussion of selected compositions facilitated by the application, with a focus on the significance of the application to the author’s own compositional practices. The different stages in the development, from prototype score player to the establishment of a commercialized ‘Decibel ScorePlayer’, are outlined in the context of practice led investigations

A potter's oil-spot Marx

This thesis will represent a body of work that consists of ten, six-pound bowls thrown on the wheel and glazed using a cone 6 oil-spot base glaze, cover glaze one, and cover glaze two. Oil-spot glaze decoration originated in Northern China during the Song Dynasty. The name “oil-spot” refers to the high iron content of a glaze or clay slips that when fired in oxidation, produces large and small spots of iron on the surface. My goal is to produce a variety of size spots, specific colors surrounding the spot, and designs produced using glaze application techniques such as layering and waxing. This thesis will be successful based on the ability to reproduce these goals and designs from firing to firing. Most of the research and literature available today on oil-spot glazing represents the relationship between iron and an oxidation firing atmosphere at stoneware temperatures. Those temperatures range from 2,300° to 2,400° (F) using wood as the heat source (or more recently gas). My aesthetic intention is to develop a body of knowledge about cone 6 oil-spot glazes using midrange firing temperatures (2232° F) in an electric kiln

Battlezone: An examination of the physiological responses, movement demands and reproducibility of small-sided cricket games

As cricket training typically involves separate skill and conditioning sessions, this study reported on the movement demands, physiological responses and reproducibility of the demands of small-sided cricket games. Thirteen amateur, male cricket players (age: 22.8 ± 3.5 years, height: 1.78 ± 0.06 m, body mass: 78.6 ± 7.1 kg) completed two sessions of a generic small-sided cricket game, termed Battlezone; consisting of six repeat 8-over bouts. Heart rate and movement demands were continuously recorded, whilst blood lactate concentration and perceived exertion were recorded after each respective bout. Batsmen covered the greatest distance (1147 ± 175 m) and demonstrated the greatest mean movement speed (63 ± 9 m · min-1) during each bout. The majority of time (65-86%) was spent with a heart rate of between 51-85% HRmax and a blood lactate concentration of 1.1-2.0 mmol · L-1. Rating of perceived exertion ranged between 4.2-6.0. Movement demands and physiological responses did not differ between standardised sessions within respective playing positions (P > 0.05). The reliability for the majority of movement demands and physiological responses were moderate to high (CV: 5-17%; ICC: 0.48-1.00) within all playing positions. These results suggest that the physiological responses and movement characteristics of generic small-sided cricket games were consistent between sessions within respective playing positions. © 2013 Copyright Taylor and Francis Group, LLC

The Murdoch-Godfrey Letters of 1869: A Nova Scotia - Maine Historical Correspondence

An introduction, source notes, and transcription of three letters from Beamis Murdoch in Halifax, Nova Scotia, to John Edward Godfrey in Bangor, Maine, February 8 to 27, 1869