‘Move’ Notated

This is a notation of music from a beatboxer, an artist who uses complex phonetics to display qualities of music. I chose as it offers complex phonemes in a musical structure. Various composers of contemporary vocal music have chosen to adapt the western notation system to suit their composition strategies, so I have decided to do the same, working backwards from the original recording. (Some of the more complex passages are not  entirely accurate in this notation)

Move-Reepsone p1 Move-Reepsone p2 Move-Reepsone p3 Move-Reepsone p4 Move-Reepsone p5

In the latter half of the 20th century, the notation of voice begins to call for higher demands in contemporary vocal composition. A lot of composers at this time were working on adapted forms of Western notation. Lutoslowskis Trois Poems d’Henri Michaux, includes extensive instructions, some for indicating timbrel events in the orchestra and choir some for the performance strategy and ad-lib sections.  I wanted to aim toward a system that didn’t rely to heavily on instructions and the musical example I chose was suitable to this intention. Since the attention to pitch wasn’t a major feature of the work I created a clef to indicate voice range and where pitch was necessary, I used an octave indication rather than the traditional clef. The score of Berio’s Sequenza uses dotted lines indicating sustain as well as IPA and symbols invented by the composer himself. The International Phonetic Alphabet was almost crucial for this work and the graphic representation of transition through lines occurs often in the top text line and stave. My attempts to recondition the application of stems and tails was in hoping that are more linguistic structure would present itself. By grouping tails by the succession of the sound rather than their rhythmic context, I was aiming to highlight the staccato/ legato relationships of the sounds. I believe this work gives a more detailed representation of a musical voice than a traditional score could. However the emphasis is still heavily on the musical content, to represent speech in this form would be rigid and visually unrepresentative of the sound.

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