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Browse scores with the Keyword: Graphic
* note: This page only shows scores that have "Graphic" explicitly listed as a keyword.
To find scores or pages that have more-than-one keyword, or to browse scores whose titles or pages also contain "Graphic",
try using the Search Bar at the top of this page.
| At Once by Other Ones
| (Cristyn Magnus)
| for contrabass and optional interactive electronics
| | back tracing: ADAM OVERTON meditation
| (experimental meditation database)
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| | back tracing: CARL WINTER meditation
| (experimental meditation database)
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| | back tracing: TASHI WADA meditation
| (experimental meditation database)
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| | Drops for ensemble (2008-09)
| (Alexis Porfiriadis)
| Verbal-graphic score (42 pages) for ensemble
| | Microtonal piece, August 2011
| (David Papapostolou)
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| | Pantomime Grasshopper
| (Cristyn Magnus)
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| | Piece A of the Piece
| (Brian McCorkle)
| Experiment in movement, drone, and planetary bodies
| | Projected Space 1.x for Harmoniums and Recorded Medium
| (Luke Thomas Taylor)
| Piece for one or more Harmoniums to be performed with a recording of the previous performance. This is a card shuffling piece, so the file should be printed to 3x5 cards. Contact me if you'd like to perform it and I will provide you with the latest recording.
| | random reaper drawing meditation
| (experimental meditation database)
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| | strings
| (emmanuel witzthum)
| String trio was composed as a set of variations to the song “Mama Yo No Tengo Visto” which is a 16th century Jewish ladino melody. In Hebrew the song is called “calmness”. In writing the work I deconstructed the song by separating the tones of the melody and what the melody was “meant” to convey metaphorically. With the tones I created a series of horizontal and vertical alternate melodies and sets which relate to one another in fields, with the “metaphorical” meaning I attempted to express a process of calming down. The work itself is devoid of rhythm, as such it focuses not on the act of “performing” the tone but on the space between the tones, in the silence that is borne out of the tones intent or potential. In addition the tones do not have articulation or dynamic markings so as to allow the performers as much flexibility for creativity and expression as possible. Without rhythm the piece does not have a fixed duration (as demonstrated by the durations of the two performances on the release), nor do the performers have to adhere to a fixed metronome. They instead should lead and follow, they should be capable to return to an essence of chamber music which I feel is lost in our times, of creating together, of a whole created by it parts, each time different, each time unique, each time without original. Without articulation or dynamics, the tones are equal, the performers decide how to play their tones while the score offers them only a framework within which their interpretations can be expressed. It is my hope with the release that musicians will take the score which is added to the LP and create their own renditions and interpretations of the piece be they acoustic or electronic. The release is a blueprint, an invitation to share and communicate - so too is the score. Emmanuel Witzthum 6.3.2011, Jerusalem
| | Three/1,2
| (Peter Bo Rappmund)
| Multiple sound to sight scores with a focus on isorhythms and the Fibonacci sequence. Files below: notes and preliminary experiments for the score; Fibonacci sequencing in Final Cut timeline for Three/1 & Three/2.
| | Three/3
| (Peter Bo Rappmund)
| A sight to sound reinterpretation of the video for Three/3. Conducted by Ulrich Krieger and performed by Sonic Boom. The video is the source material for the graphic score. Film structure is based on isorhythms in the Kyrie of Machaut's Messe de Nostre Dame. Files below: sight to sound graphic score for Sonic Boom; sound to sight for aforementioned video (reinterpretation of original score as instructions for film); video for Three/3; video of rehearsal by small ensemble.
| | un(m)ask
| (Pedro Filho Amorim)
| Graphic score for organ and/or choir
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