[Study no. 50][Notational Becoming][Speculations]

Ryan Ross Smith

    Research output: Chapter in Book/Report/Conference proceedingConference PaperOtherpeer-review


    The use of animation in contemporary notational practices
    has become increasingly prevalent over the last ten
    years, due in large part to the increased compositional
    activities throughout Europe, the United Kingdom, and
    North America, and in particular Iceland and Western
    1 The publication of several foundational texts,2
    and the materialization of focused scholarly meetings3
    and online consolidation projects4 have also contributed
    to the expansion of this growing field of animated notational
    practice. The range of compositional ideas represented
    by these scores is vast, encompassing a wide variety
    of stylistic approaches and technological experimentation.
    While these ideas often demonstrate intriguing
    compositional directions, and the unique dynamic functionalities
    and visual characteristics of animated scores
    are clearly distinct from traditionally-fixed scores, it is
    the real-time generative processes of these scores that
    represent a shift in the very ontology of the musical
    score. In this paper I speculate on one possible framing
    for this ontological distinction by focusing on several
    attributes that, in combination, most explicitly demonstrate
    this distinction. These include the real-time, process-based
    qualities of generative animated notations, the
    openness that enables these procedural functionalities, the
    displacement of interpretive influence, and the timeliness
    of these processes in respect to the temporal relationship
    between generation, representation as notation, and sonic
    realization. A new work, Study no. 50, will be examined
    as a practical demonstration of these attributes, and will
    function as a jumping off point for a speculativ
    Original languageEnglish
    Title of host publicationTENOR: The International Conference on Technologies for Music Notation and Representation
    Number of pages7
    Publication statusPublished - 2016

    Cite this