Live Notation and Composition

10 March 2016, 18:30
Cambridge campus

Richard Hoadley will discuss his research and practice in connection to dynamic notation, including the use of the Kinect, the Leap and other proprietary interfaces with dancers and other performers.

In Richard’s dance, music and text pieces 'Quantum Canticorum' (2013) and 'Semaphore' (2014 - see video) he introduced notation-generating algorithms influenced by the dancer's physical movements. A project still in development, 'Choreograms', also seeks to investigate and implement dance notations. While the general idea of mapping movement is far from novel, the use of movement to generate music notation dynamically, which can then be performed at the time, is less common. It enables the live reflection and synchronisation of movement in both acoustically performed and electronically generated music and sound.

Similar technologies have been used to create the composition ‘How To Play the Piano’ (2015), written for and performed by the pianist Philip Mead. For this piece, composer and writer Katharine Norman was commissioned to write and record a new original poem. This forms the backbone of the piece, providing audiovisual prompts and dynamic music notation and in the process becoming a guided improvisation, which very much reflects a performer's character and experience. Katharine’s own recording of the poem also provides a significant part of the music as the voice’s amplitude and frequency is mirrored in live audio and notation.

Richard will also be discussing contrasting methods of notation projection and display for performers (musicians, dancers and actors) and audiences.

Event Details

10 March 2016, 18:30
Cambridge campus
LAB 214