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Found 2 results

  1. Hi all, I’m looking for composers to contribute graphic scores for a score exchange project. Participants will upload graphic scores and there will be an open invitation for musicians to respond with an audio recording of their own personal interpretation of the score. Submissions should be for open instrumentation only (for any number of instruments), and not for specific instrumentation. You are encouraged to consider shape, colour, size, placement, words etc. Responses may be wide ranging - from digital art, to abstract painting, and video score/animation. Graphic notation can give a voice to musicians who find traditional notation limiting yet have the desire to express themselves through composition. Submission is open to anyone who is interested, not just professional composers. This online space will present opportunities for musicians and amateurs to interact and collaborate virtually. A driving motive behind the project is to bring people together in the time of social isolation. If you feel you need some inspiration, this article is a great place to start: https://www.theguardian.com/music/gallery/2013/oct/04/graphic-music-scores-in-pictures Alternatively, some examples of text scores if this is more your thing: Yoko Ono’s Grapefruit, George Brecht’s Water Yam Pauline Oliveros’ ‘Sonic Meditations Here is a link to the Google Form: https://forms.gle/eVyAo1e6UP1XQqmcA Thanks! Eliza 😊
  2. Say you decide to call it: " Infinite Opus " , then these are the instructions: " This is a giant fantasia of interludes that is meant to be composed until the death ( daeth ) of the kompozer, thus an infinite not the infinite composition which would need to be executively-ordered as this one is merely dispersed. Wether mortal or immortal the kompozer may be, this type of composition can never be completed because like the music quest is infinite. It is a side-objective along with the rest of compositions demanded by desire or commission. It may be divided into part 1, part 2, & so on in order to remedie space or memory limitations in notation processors. Ofcourse, the sooner the kompozer undertakes this endevoir, the better. The rules are if it is chosen as a piano solo for instance the piano being the ultimate choice due to it's gigantic spectrum expressional capability other than the organ or synthesizer, then it must always stay a solo. In conclusion, a universal ending should be deviced in a seperate file so that it may be added to the work as the finale regardless of the impossible end. " -K.C.D.L.A.C. ( 09222012 ) P.S. I will be posting my 1st gigantic section ( Part1 ) in the solo keyboard quadrant once it has been completed at an unknown date. :yc:
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