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Sentences that have score in common :


Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone.
└ from 01 — Pushing Scores Overview


This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'.
└ from 01 — Pushing Scores Overview


This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years.
└ from 01 — Pushing Scores Overview


What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?
└ from 01 — Pushing Scores Overview


So what is the current state of the graphic score?
└ from 01 — Pushing Scores Overview


Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential.
└ from 01 — Pushing Scores Overview


What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?
└ from 01 — Pushing Scores Overview


Each student had to develop their own project around the process of making a score.
└ from 02 — Release - Tetra Gamma Circulaire 3


Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output.
└ from 05 — Wiels Artbook Fair


Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated.
└ from 06 — Principium 2.0 Publication


And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?
└ from 06 — Principium 2.0 Publication


And since I'm a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions.
└ from 06 — Principium 2.0 Publication


I followed that score for eight hours straight.
└ from 06 — Principium 2.0 Publication


The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself.
└ from 07 — Pu-sh-ing-Sco-res Event


The idea of a score functioned as a guideline to shape their project and to test the working process.
└ from 09 — MAT>NET>PU TGC3 Presentation


ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years.
└ from 10 — Valentina Vuksic


Her score was made on the spot with programming language; a sort of live coding.
└ from 10 — Valentina Vuksic


PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone.
└ from 11 — Para-phonic Poly-disco


An interactive graphic score/light box/kinetic work fixed inside the cabinet, and 2.
└ from 11 — Para-phonic Poly-disco


Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir.
└ from 11 — Para-phonic Poly-disco


The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building.
└ from 11 — Para-phonic Poly-disco


The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object.
└ from 12 — Jacques Attali


During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market.
└ from 12 — Jacques Attali


We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score.
└ from 13 — Remco van Bladel


John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed.
└ from 15 — Schematic as Design


This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it.
└ from 18 — Dirigeerstok


It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'.
└ from 18 — Dirigeerstok


But how can we score something not present, yet also not absent?
└ from 23 — Silence


Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?
└ from 23 — Silence


A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this.
└ from 24 — Johannes Kreidler


Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'.
└ from 25 — Ana Guedes


The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination.
└ from 26 — Helga Jakobson


The idea of a spider web as a score was also very closely aligned with the 'Pushing Scores' project.
└ from 26 — Helga Jakobson


The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered.
└ from 29 — Niek Hilkmann


The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music.
└ from 30 — Black Midi


This creates strong graphic works and partly blackens out the original score.
└ from 31 — Marco Fusinato


Serial in form, each work uses an existing cultural document – a twentieth or twenty-first century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions.
└ from 31 — Marco Fusinato


Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point.
└ from 31 — Marco Fusinato


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