Phenomenological open graphic notation with chaotic systems in interactive electroacoustic music.
This article explores phenomenological open graphic notation as an effective scoring method for instrumentalists engaging with chaotic systems in interactive electroacoustic music. Open graphic notation has long provided composers with a means of fostering interpretative freedom in musical performan...
| Publicado en: | Organised Sound Vol. 30; no. 3; pp. 257 - 269 |
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| Formato: | Artículo |
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Cambridge University Press
Dec2025
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=193812731&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 193812731 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 13557718 G0N jtl: Organised Sound issn: 13557718 maglogo: N pubinfo: dt: Dec2025 vid: 30 iid: 3 pid: 15979 pub: Cambridge University Press artinfo: ui: 193812731 10.1017/S1355771825100666 ppf: 257 ppct: 12 formats: tig: atl: Phenomenological open graphic notation with chaotic systems in interactive electroacoustic music. aug: au: Hildebrand, Nolan affil: DMA candidate, Music Composition, Faculty of Music, University of Toronto, Canada su: Musical notation Chaos theory Pattern perception Music scores Computer music Instrumental music Music improvisation sug: subj: Musical notation Chaos theory Pattern perception Music scores Computer music Instrumental music Music improvisation keyword: Chaotic systems interactive electroacoustic music new forms of graphic notation notation in interactive performance systems phenomenological open graphic scores ab: This article explores phenomenological open graphic notation as an effective scoring method for instrumentalists engaging with chaotic systems in interactive electroacoustic music. Open graphic notation has long provided composers with a means of fostering interpretative freedom in musical performance. The subjective nature of open graphic scores establishes a dynamic relationship between the score and the performer that parallels the interactions between musicians and chaotic systems in interactive electroacoustic music. Chaotic systems, characterised by their non-linear and unpredictable behaviour, often necessitate improvisatory approaches rather than reliance on fixed notation. However, notation can serve as a structural framework, affording composers greater formal control while supporting performers who may be less accustomed to improvisation. How, then, might notation be used with chaotic systems in interactive electroacoustic music? Drawing on phenomenological concepts such as the lived body, embodied action and Gestalt perception, this notational approach can provide a structured yet flexible means of guiding performer–system interactions. The author presents three recent compositions as case studies, demonstrating how phenomenological open graphic notation can shape and mediate the performer's engagement with chaotic systems in interactive electroacoustic music. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y dt: @attributes: year: 2025 holdings: @attributes: islocal: N |
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