[ISEA2011] Panel: Arthur Clay – Aspects of Realtime Scoring and Extreme Sight Reading

Panel Statement

Panel:  Chasing Ghosts: Reactive Notation and Extreme Sight Reading

The re­la­tion­ship be­tween the com­poser of a work and the in­ter­preter of it can often be de­ducted from the type of score at hand and how it is no­tated. Var­i­ous de­grees of free­dom have been given and taken away from the in­ter­preter over the his­tory of West­ern music. In early music styles, in­ter­preters em­bell­ished melodies with sim­ple to elab­o­rate or­na­men­ta­tions and im­pro­vised ca­den­zas; in con­tem­po­rary music the amount of free­dom an in­ter­preter is given varies, but is all too often very re­stric­tive. The fol­low­ing paper in­tro­duces the con­cept of mal­leabil­ity in score mak­ing and read­ing, in a step-by-step man­ner. Key con­cepts are il­lus­trated with ex­am­ples of var­i­ous score types from mal­leable paper scores to the in­ter­ac­tive screen based ones.

  • Art Clay, a sound artist and cu­ra­tor was born in New York and lives in Basel. He is a spe­cial­ist in the per­for­mance of self cre­ated works with the use of in­ter­me­dia and has ap­peared at in­ter­na­tional fes­ti­vals, on radio and tele­vi­sion tele­vi­sion in Eu­rope, Asia and North Amer­ica. His re­cent work fo­cuses on media based works and large per­for­ma­tive works and spec­ta­cles using mo­bile de­vices. He has won prizes for per­for­mance, the­atre, new media art and cu­ra­tion. He has taught media and in­ter­ac­tive arts at var­i­ous art schools and uni­ver­si­ties in Eu­rope and North Amer­ica in­clud­ing the Uni­ver­sity of the Arts in Zurich.