Hostname: page-component-8448b6f56d-c47g7 Total loading time: 0 Render date: 2024-04-18T07:52:10.378Z Has data issue: false hasContentIssue false

Useful Scores: Multiple formats for electroacoustic performers to study, rehearse and perform

Published online by Cambridge University Press:  13 November 2014

Terri Hron*
Affiliation:
Centre for Interdisciplinary Research in Music, Media and Technology, 527 Sherbrooke St West, Montreal, QC, Canada, H3A 1E3

Abstract

This short article presents the author’s ideas about different score formats for instrumental performers of mixed electroacoustic music. Following a trajectory from initial understanding through effective rehearsal and ending in performance, different score formats are discussed. Each is based on and addresses performers’ needs and improves documentation and transmission of the composer’s intentions and the performer’s contribution. The author bases these suggestions on her experience as a performer/commissioner and composer of new mixed electroacoustic works, many of which are collaborative creations.

Type
Articles
Copyright
© Cambridge University Press 2014 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

BIBLIOGRAPHY

Bhagwati, Sandeep. 2008a. Composing through Shadows – Conceptual Layers in ‘Inside a Native Land’ and ‘Vineland Stelae’. Paper read at the conference ‘Faire Oeuvre – Transparence et Opacité’ (Quebec City, May 2008). www.academia.edu/181051/Composing_through_Shadows_-_Conceptual_Layers_in_Inside_a_Native_Land_and_Vineland_StelaeGoogle Scholar
Bhagwati, Sandeep. 2008b. Transience: matralab. http://matralab.hexagram.ca/projects/transience Google Scholar
Bhagwati, Sandeep. 2011. Alien Lands: matralab. http://matralab.hexagram.ca/projects/alien-lands Google Scholar
Carmichael, Laura. 2012. Personal interview. 13 May.Google Scholar
Chadabe, Joel. 1999. The Performer Is Us. Contemporary Music Review: Live Electronics 18(3): 2530.CrossRefGoogle Scholar
Fitch, Fabrice, and Heyde, Neil. 2007. ‘Recercar’: The Collaborative Process as Invention. Twentieth-Century Music 4(1): 7195.Google Scholar
Hron, Terri. 2013. Maly velky Svet. www.birdonawire.ca/mvs Google Scholar
Kimura, Mari. 2003. Creative Process and Performance Practice of Interactive Computer Music: A Performer’s Tale. Organised Sound 8(3): 289296.Google Scholar
Roche, Heather. 2011. Dialogue and Collaboration in the Creation of New Works for Clarinet. Doctoral thesis, University of Huddersfield.Google Scholar
Wishart, Trevor. 1996. On Sonic Art. New York: Routledge.Google Scholar