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Sentences that have century in common :

Graphic scores and notation have a long history dating back to the tenth century, when the Gregorian chants of the 'scola cantorum' were already being conducted through the writing of signs in the air.
└ from 01 — Pushing Scores Overview

In the early- to mid-twentieth century, the abstract developments in the visual arts played a vital role in fostering new approaches to the question of music notation and contemporary avant-garde music.
└ from 01 — Pushing Scores Overview

Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century.
└ from 01 — Pushing Scores Overview

Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture.
└ from 01 — Pushing Scores Overview

The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media.
└ from 01 — Pushing Scores Overview

‘Fred Flintstone meets the twenty-first century’, it was referred to as.
└ from 02 — Release - Tetra Gamma Circulaire 3

In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la.
└ from 11 — Para-phonic Poly-disco

In the eleventh century, the Italian music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la.
└ from 11 — Para-phonic Poly-disco

In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use).
└ from 11 — Para-phonic Poly-disco

In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note.
└ from 11 — Para-phonic Poly-disco

With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here.
└ from 12 — Jacques Attali

In it he transposed compositional methodologies of the avant-gardists in the twentieth century to graphic design methodologies, for instance, by understanding Steve Reich's phase shifting technique through the lens of design.
└ from 13 — Remco van Bladel

We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions.
└ from 14 — Derek Holzer

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

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