Live Coding, Live Notation, Live Performance

This paper/demonstration explores relationships between code, notation including representation, visualisation and performance. Performative aspects of live coding activities are increasingly being investigated as the live coding movement continues to grow and develop. Although live instrumental performance is sometimes included as an accompaniment to live coding, it is often not a fully integrated part of the performance, relying on improvisation and/or basic indicative forms of notation with varying levels of sophistication and universality. Technologies are developing which enable the use of fully explicit music notations as well as more graphic ones, allowing more fully integrated systems of code in and as performance which can also include notations of arbitrary complexity. This itself allows the full skills of instrumental musicians to be utilised and synchronised in the process. This presentation/demonstration presents work and performances already undertaken with these technologies, including technologies for body sensing and data acquisition in the translation of the movements of dancers and musicians into synchronously performable notation, integrated by live and prepared coding. The author together with clarinetist Ian Mitchell present a short live performance utilising these techniques, discuss methods for the dissemination and interpretation of live generated notations and investigate how they take advantage of instrumental musicians’ training-related neuroplasticity skills.

Content

Author and article information

Contributors

Richard Hoadley

Conference

Publication date: July 2016

Publication date (Print): July 2016

Pages: 34-41

Affiliations

[0001]Digital Performance Laboratory, Anglia

Ruskin University

Cambridge, UK

Article

DOI: 10.14236/ewic/EVA2016.8

SO-VID: 3828286b-8572-499f-a841-0161a373f2dd

License:

This work is licensed under a Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/

Conference name: Electronic Visualisation and the Arts

Conference acronym: EVA

Conference number:

Conference location: London, UK

Conference date: 12 - 14 July 2016

Conference sponsor: Electronic Workshops in Computing (eWiC)

Conference theme: Electronic Visualisation and the Arts

History

Product

1477-9358 BCS Learning & Development

Self URI (article page): https://www.scienceopen.com/hosted-document?doi=10.14236/ewic/EVA2016.8

Self URI (journal page): https://ewic.bcs.org/

REFERENCES

S. AaronA. F. Blackwell 2013 From sonic pi to overtone- creative musical experiences with domain-specific and functional languages ACM Proceedings of the first ACM SIGPLAN workshop on Functional art, music, modeling and design, 2013 35 36
S. AaronA. F. BlackwellR. HoadleyT. Regan 2011 A principled approach to developing new languages for live coding Proceedings of New Interfaces for Musical Expression.
K. C. Baird 2005 Real-time generation of music notation via audience interaction using python and gnu lilypond Proceedings of New Interfaces for Musical Expression Vancouver, BC, Canada 240 241
A. F. BlackwellT. R. Green 2003 Notational Systems - the Cognitive Dimensions of Notations framework. Morgan Kaufmann
A. F. BlackwellT. R. GreenD. J. Nunn 2000 Cognitive dimensions and musical notation systems ICMA Proceedings of International Computer Music Conference Berlin, Germany ICMA
D. Byrd 2016 Extremes of Conventional Music Notation Indiana University Bloomington USA ext-link-type="uri" xlink:href="http://homes.soic.indiana.edu/donbyrd/CMNExtremes.htm">http://homes.soic.indiana.edu/donbyrd/CMNExtremes.htm
H. Cole 1974 Sounds and Signs. London Oxford University Press
N. CollinsA. R. Brown 2009 Generative music editorial Contemporary Music Review 28 1 1-4 February
N. CollinsA. McLeanJ. RohrhuberA. Ward 2003 Live coding in laptop performance Organised Sound 8 3 321 330
C. Dimpker 2013 Extended Notation Zurich Lit Verlag
E. Gould 2011 Behind bars: the definitive guide to music notation / Elaine Gould London Faber Music Ltd (Includes bibliographical references and index.)
R. Hoadley 2012 Calder’s violin: Real-time notation and performance through musically expressive algorithms ICMA Proceedings of International Computer Music Conference 188 193 ICMA
R. Hoadley 2014 Dynamic music notation in quantum canticorum R. K et al Proceedings of the 50th Artificial Intelligence and Simulation of Behaviour Conference Goldsmiths, University of London UK
R. Hoadley 2015 Semaphore: cross-domain expressive mapping with live notation M. Battier Proceedings of the International Conference on Technologies for Music Notation and Representation Paris, France 48 57 TENOR IReMus
P. HudakT. MakucevichS. GaddeB. Whong 1993 Haskore music notation - an algebra of music Journal of Functional Programming 1 1 1 18
D. Kim-Boyle 2010 Real-time score generation for extensible open forms Contemporary Music Review 29 1 3 15
M. LemanP.-J. Maes 2014 The role of embodiment in the perception of music Empirical Musicology Review 9 3-4 236 246
T. Magnusson 2011 Algorithms as scores: Coding live music Leonardo Music Journal 21, 1923
T. Magnusson 2014 Herding cats: Observing live coding in the wild Computer Music Journal 38 1 8 16 Spring
L. McCallum 2011 Show us your screens Video
J. McCartney 2002 Rethinking the computer music language: Supercollider Computer Music Journal 26 4
A. McLean 2013 Changing rules while they are followed: Live coding the embodied loop ext-link-type="uri" xlink:href="https://vimeo.com/69687342">https://vimeo.com/69687342
A. McLeanD. della CasaS. KnottsS. AaronA. BrownJ. A. Romero 2004 Toplap website Electronic
A. McLeanG. Wiggins 2010 Tidal - pattern language for the live coding of music Proceedings of the 7th Sound and Music Computing Conference
P. Rebelo 2015 Composing with graphics: Revealing the compositional process through performance Proceedings of the New Technologies for Music Notation and Representation Conference Paris, France TENOR May
E. M. RipinS. PollensP. R. BeltM. MeiselA. HuberM. ColeG. HecherB. K. de PascualC. A. HooverC. EhrlichE. M. GoodR. WinterJ. B. Robinson 2016 Grove Music Online, Volume Grove Music Online, Chapter Pianoforte Oxford University Press
R. R. Smith 2015 An atomic approach to animated music notation M. BattierJ. BressonP. CouprieC. Davy-RigauxD. FoberY. GeslinH. GenevoisF PicardA. Tacaille Proceedings of the International Conference on Technologies for Music Notation and Representation, 39 47 TENOR
A. SorensenH. Gardner 2010 Programming with time: cyber-physical programming with impromptu ACM Sigplan Notices 45 10 822 834
Q. SunD. ZhangY. FanK. ZhangB. Ma 2010 Ancient Chinese zither (guqin) music recovery with support vector machine ACM Journal on Computing and Cultural Heritage 3 2
S. WilsonN. LorwayR. CoullK. VasilakosT. Moyers 2014 Free as in beer: Some explorations into structured improvisation using networked live-coding systems Computer Music Journal 38 1 54 64 Spring

Comments

Comment on this article

[1] S. AaronA. F. Blackwell 2013 From sonic pi to overtone- creative musical experiences with domain-specific and functional languages ACM Proceedings of the first ACM SIGPLAN workshop on Functional art, music, modeling and design, 2013 35 36

[2] S. AaronA. F. BlackwellR. HoadleyT. Regan 2011 A principled approach to developing new languages for live coding Proceedings of New Interfaces for Musical Expression.

[3] K. C. Baird 2005 Real-time generation of music notation via audience interaction using python and gnu lilypond Proceedings of New Interfaces for Musical Expression Vancouver, BC, Canada 240 241

[4] A. F. BlackwellT. R. Green 2003 Notational Systems - the Cognitive Dimensions of Notations framework. Morgan Kaufmann

[5] A. F. BlackwellT. R. GreenD. J. Nunn 2000 Cognitive dimensions and musical notation systems ICMA Proceedings of International Computer Music Conference Berlin, Germany ICMA

[6] D. Byrd 2016 Extremes of Conventional Music Notation Indiana University Bloomington USA ext-link-type="uri" xlink:href="http://homes.soic.indiana.edu/donbyrd/CMNExtremes.htm">http://homes.soic.indiana.edu/donbyrd/CMNExtremes.htm

[7] H. Cole 1974 Sounds and Signs. London Oxford University Press

[8] N. CollinsA. R. Brown 2009 Generative music editorial Contemporary Music Review 28 1 1-4 February

[9] N. CollinsA. McLeanJ. RohrhuberA. Ward 2003 Live coding in laptop performance Organised Sound 8 3 321 330

[10] C. Dimpker 2013 Extended Notation Zurich Lit Verlag

[11] E. Gould 2011 Behind bars: the definitive guide to music notation / Elaine Gould London Faber Music Ltd (Includes bibliographical references and index.)

[12] R. Hoadley 2012 Calder’s violin: Real-time notation and performance through musically expressive algorithms ICMA Proceedings of International Computer Music Conference 188 193 ICMA

[13] R. Hoadley 2014 Dynamic music notation in quantum canticorum R. K et al Proceedings of the 50th Artificial Intelligence and Simulation of Behaviour Conference Goldsmiths, University of London UK

[14] R. Hoadley 2015 Semaphore: cross-domain expressive mapping with live notation M. Battier Proceedings of the International Conference on Technologies for Music Notation and Representation Paris, France 48 57 TENOR IReMus

[15] P. HudakT. MakucevichS. GaddeB. Whong 1993 Haskore music notation - an algebra of music Journal of Functional Programming 1 1 1 18

[16] D. Kim-Boyle 2010 Real-time score generation for extensible open forms Contemporary Music Review 29 1 3 15

[17] M. LemanP.-J. Maes 2014 The role of embodiment in the perception of music Empirical Musicology Review 9 3-4 236 246

[18] T. Magnusson 2011 Algorithms as scores: Coding live music Leonardo Music Journal 21, 1923

[19] T. Magnusson 2014 Herding cats: Observing live coding in the wild Computer Music Journal 38 1 8 16 Spring

[20] L. McCallum 2011 Show us your screens Video

[21] J. McCartney 2002 Rethinking the computer music language: Supercollider Computer Music Journal 26 4

[22] A. McLean 2013 Changing rules while they are followed: Live coding the embodied loop ext-link-type="uri" xlink:href="https://vimeo.com/69687342">https://vimeo.com/69687342

[23] A. McLeanD. della CasaS. KnottsS. AaronA. BrownJ. A. Romero 2004 Toplap website Electronic

[24] A. McLeanG. Wiggins 2010 Tidal - pattern language for the live coding of music Proceedings of the 7th Sound and Music Computing Conference

[25] P. Rebelo 2015 Composing with graphics: Revealing the compositional process through performance Proceedings of the New Technologies for Music Notation and Representation Conference Paris, France TENOR May

[26] E. M. RipinS. PollensP. R. BeltM. MeiselA. HuberM. ColeG. HecherB. K. de PascualC. A. HooverC. EhrlichE. M. GoodR. WinterJ. B. Robinson 2016 Grove Music Online, Volume Grove Music Online, Chapter Pianoforte Oxford University Press

[27] R. R. Smith 2015 An atomic approach to animated music notation M. BattierJ. BressonP. CouprieC. Davy-RigauxD. FoberY. GeslinH. GenevoisF PicardA. Tacaille Proceedings of the International Conference on Technologies for Music Notation and Representation, 39 47 TENOR

[28] A. SorensenH. Gardner 2010 Programming with time: cyber-physical programming with impromptu ACM Sigplan Notices 45 10 822 834

[29] Q. SunD. ZhangY. FanK. ZhangB. Ma 2010 Ancient Chinese zither (guqin) music recovery with support vector machine ACM Journal on Computing and Cultural Heritage 3 2

[30] S. WilsonN. LorwayR. CoullK. VasilakosT. Moyers 2014 Free as in beer: Some explorations into structured improvisation using networked live-coding systems Computer Music Journal 38 1 54 64 Spring

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