Panel Statement

Panel:  Chasing Ghosts: Reactive Notation and Extreme Sight Reading

One can take the sight read­ing and real- time score read­ing from dif­fer­ent points of view but the basic idea of both is ac­tu­ally very sim­i­lar. When we ques­tion sight read­ing, it is as an im­por­tant level if in­quiry as are the fields of har­mony, struc­ture, or­ches­tra­tion, and the tempi of the pieces may vary de­pend­ing on the cen­tury of the writ­ten music. This paper’s con­tri­bu­tion to the panel will focus on the read­ing part of no­tated and non- no­tated music. Real-time music in­cludes sur­prises and as in aleatori­cism, these occur au­to­mat­i­cally as the out­come of the in­ter­pre­ta­tion may vary from be­tween per­for­mances due to the pa­ra­me­ters given at the time being. The real-time scores may in­clude di­verse styles as there is no oblig­a­tion of only mak­ing con­tem­po­rary music or clas­si­cal music; there are no bound­aries for writ­ing the music and in­ter­pre­tat­ing it.

• Basak Di­lara Ozdemir, pi­anist-com­poser started to study piano at the age of seven at Is­tan­bul Uni­ver­sity State Con­ser­va­tory; af­ter­wards she got her diploma and mas­ter’s de­gree in Bu­dapest at Liszt Fer­enc Music Acad­emy. She also stud­ied at the Paris Con­ser­va­tory and did a year long com­po­si­tion- elec­tronic music course at IRCAM in Paris. Cur­rently, she is pur­su­ing her PhD and work­ing as a lec­turer at the music acad­emy in Is­tan­bul.