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fix url path

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lee2sman 2024-03-05 02:16:07 -05:00
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hosted/sound/graphic-scores.gmi
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@ -16,7 +16,7 @@ The use of graphic notation within a score can vary widely, from the score being
Though its most popular usage occurred in the mid-twentieth century, the first evidence of graphic notation dates back much earlier. Originally called "eye music", these graphic scores bear resemblance to the scores of composers like George Crumb. One of the earliest surviving pieces of eye music is Belle, Bonne, Sage by Baude Cordier, a Renaissance composer. His score, formed in the shape of a heart, was intended to enhance the meaning of the song.
=> ../images/cordier.jpg Belle, Bonne, Sage, by Baude Cordier, 15th century
=> ../../images/cordier.jpg Belle, Bonne, Sage, by Baude Cordier, 15th century
Experimental music appeared in the United States and Europe during the 1950s, when many of the once untouchable parameters of traditional music began to be challenged. Aleatoric music, indeterminate music, musique concrète and electronic music shook previously unquestioned concepts, such as musical time or the function of the musician, and dared to add others to musical space in all its dimensions, with all their ontological consequences and burdens. They also changed the roles of the composer, the performer and the public, giving them totally new functions to explore.
@ -34,13 +34,13 @@ In addition to the more widespread popularity of graphic notation, new technolog
### Examples
=> ../images/waterwalk.jpg section of waterwalk by John Cage
=> ../../images/waterwalk.jpg section of waterwalk by John Cage
Time-based pictographic scores such as Waterwalk by John Cage, uses a combination of time marking a pictographic notation as instruction on how and when to perform certain actions.
Pictographic scores such as Stripsody by Cathy Berberian use only drawings and text, foregoing any sort of time reference. This allows the performer to interpret the piece as they like.
=> ../images/relativepitch.jpg
=> ../../images/relativepitch.jpg
Line staves showing approximate pitch, with the actual pitches being decided upon performance.
@ -48,7 +48,7 @@ Altered notation can be seen in George Crumb's work, where he uses traditional n
### As abstract visual reference
=> ../images/solitude.jpg Hans-Christoph Steiner's score for Solitude, created using Pure Data's data structures
=> ../../images/solitude.jpg Hans-Christoph Steiner's score for Solitude, created using Pure Data's data structures
Time-based abstract representation, can be seen in Hans-Christoph Steiner's score for Solitude in which the music is represented using symbols and illustrations. Note that here, time is still represented horizontally from left to right like in a pitch graph system, and thus implies that the piece has a specific form.

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hosted/sound/musical-game-pieces.gmi
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@ -16,7 +16,7 @@ In Formalized Music (2001), Iannis Xenakis mentions two pieces in his oeuvre tha
German experimental group Einsturzende Neubauten developed a 600 card game piece named Dave. Vocalist Blixa Bargeld describes the card game as "not too much of an aleatoric thing as it is a navigation system". Dave is used as an improvisational spur in live performance and was used extensively in the composing and recording of Alles in Allem.
=> ../images/brotzmann.jpg Brotzmann's Signs and Images card games
=> ../../images/brotzmann.jpg Brotzmann's Signs and Images card games
Free jazz saxophonist Peter Brotzmann devised, designed and illustrated two card games, Signs and Images, in the early 2000s to be used by the Chicago Tentet. Signs consists of twenty-five cards and Images fifteen. The games were released by Brotzmann as a limited edition in 2002.