Familiar and new

Hi Joseph

> ***OK... This is something to think about. I suppose I could go
> through a piece and write in 17 cents and 33 cents up and down all
> over the place. I wonder if it would make a difference?? It
> *shouldn't* really, but I know how players look at pieces... one
> glance, it looks "weird" and then the simple answer *no* (it's
> shorter than *yes...*)

It's a very natural human reaction. You get something a bit like this too
that one needs to think about when designing the interface for
a computer program. We like things to be familiar - well new
and familiar at the same time.

So, my guess is, probably it would make a difference, if a player
is used to playing from a score notated in cents, to present it
like that initially - prob. wouldn't be that much work??

Maybe you should give players the cents notation, then a bit
before the last rehearsal once the piece is thoroughly familiar,
substitute the Ezra Sims notation and see if it makes more
sense then. Just joking, but may be something in it...
I expect the notation you use in a piece does affect
the way a player plays it and how they shape it,
sort of like the idea of concrete poetry??

Do you get the same thing in music?
Pieces that are only meant to be seen as scores and not
to be played at all?

:-).

Robert

--- In tuning@y..., "Robert Walker" <robertwalker@n...> wrote:

/tuning/topicId_39467.html#39467

> Hi Joseph
>
> > ***OK... This is something to think about. I suppose I could go
> > through a piece and write in 17 cents and 33 cents up and down
all
> > over the place. I wonder if it would make a difference?? It
> > *shouldn't* really, but I know how players look at pieces... one
> > glance, it looks "weird" and then the simple answer *no* (it's
> > shorter than *yes...*)
>
> It's a very natural human reaction. You get something a bit like
this too
> that one needs to think about when designing the interface for
> a computer program. We like things to be familiar - well new
> and familiar at the same time.
>
> So, my guess is, probably it would make a difference, if a player
> is used to playing from a score notated in cents, to present it
> like that initially - prob. wouldn't be that much work??
>

> Maybe you should give players the cents notation, then a bit
> before the last rehearsal once the piece is thoroughly familiar,
> substitute the Ezra Sims notation and see if it makes more
> sense then. Just joking, but may be something in it...
> I expect the notation you use in a piece does affect
> the way a player plays it and how they shape it,
> sort of like the idea of concrete poetry??
>

***Thanks so much for your contribution to this thread, Robert.
Indeed, this is a serious suggestion and it would probably be to my
advantage to make *two* different copies of the scores. No, it
wouldn't be too difficult to make the cents one, since I just have to
copy *three* different numbers throughout the piece.

It would be an interesting experiment to see if there really is a
different reaction between these two kinds of notation. Johnny
Reinhard thinks there is, and I take his opinions very seriously
since he has had more experience with live performers than anyone on
this list, myself included!

> Do you get the same thing in music?
> Pieces that are only meant to be seen as scores and not
> to be played at all?
>
> :-).
>

***Why of course, Robert! Pieces like this go all the way from the
present (see John Cage's book on _Notations_) to the Middle Ages!

There is, in fact, an established technical term for this kind of
music, "Augenmusik!"

Here is a very famous piece by Baude Cordier which is meant as much
for the "looking" as for the "playing!":

http://latawiec2000.republika.pl/gal/41.html

Joseph

Joseph wrote:
>There is, in fact, an established technical term for this kind of
>music, "Augenmusik!"

The most famous example of this is, well around here, Jurriaan
Andriessen's piano piece "Hedwig's portrait". It's a woman's portrait
in music notation.

Manuel

At 14:29 14/10/02 +0200, you wrote:
>Joseph wrote:
> >There is, in fact, an established technical term for this kind of
> >music, "Augenmusik!"
>
>The most famous example of this is, well around here, Jurriaan
>Andriessen's piano piece "Hedwig's portrait". It's a woman's portrait
>in music notation.

But what about generating music from ANY pictures:
www.synestesia.com
My open source Java code generates music from any pictures

Regards,
LG

--- In tuning@y..., manuel.op.de.coul@e... wrote:

/tuning/topicId_39467.html#39573

> Joseph wrote:
> >There is, in fact, an established technical term for this kind of
> >music, "Augenmusik!"
>
> The most famous example of this is, well around here, Jurriaan
> Andriessen's piano piece "Hedwig's portrait". It's a woman's
portrait in music notation.
>
> Manuel

***Hi Manuel

I take it there is no way we could see a graphics file of this...

Joseph

>I take it there is no way we could see a graphics file of this...

No I don't think so, the copyright's still valid.
Besides it would need to be quite big to be readable.
But it looks quite spectacular.

Manuel