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Notation is a system within a system. It has evolved in between or amidst the composer and the performer/instrument and has had a clear position (composer-score-performer), functionality (communication tool and performer engagement), and di

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Live coding has been defined as a new path in the evolution of the musical score. Live coding practice accentuates the score, and whilst it is the perfect vehicle for the performance of algorithmic music, it also transforms the compositiona

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New technologies pose new challenges for the music score: interactive music, new instruments, mixed medias, purely gesture based performances, are among the domains explored by the contemporary creation that overflow the classical frame of

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Designing a comprehensive notation for a new musical technology: in particular the challenge of notation for a new musical gesture controller that supports conventional and extended two-bow cello playing with the unusual feature that it has

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Notation marks and explains, it communicates and documents, it prescribes and produces. Within such notational possibilities signs are able to formalise, to solidify but also to expand practice. And while the ritual of performance practices

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I will present and discuss some current issues on movement notation for interactive systems. The growing use of interactive machine learning with new musical interfaces brings new opportunities for movement notation and annotation. It also

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The evolution of traditional notation towards increased specificity and complexity has been expanding its role from the composer’s “brain in a vat” into an elastic interface dynamically amalgamated with instruments and performing bodies. In

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As composers we naturally focus on sound as our main material, yet spend much of our time drawing – drawing notation. Whether with pen and paper or with notational software, we have much common gound with designers and architects at the ear

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The technologies – codes and materials – of inscription play a vital role in forming musical objects and practices, and crucially inform the discourses of music. Many current issues can be traced back to the beginning of the C20th, to the b

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In my talk, I will defend that representationalism has a history and that non-linguistic approaches for writing music might be an alternative for music notation. As Derrida states when referring to Pierce's philosophy of notation: “From the

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The development, formalization, codification, and maintenance of common practice notation [CPN] demonstrates a parallel yet intertwined tract to the evolution of musical thought and practice, and while CPN is not the only Western notational

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IanniX is a graphical real-time open-source sequencer, based on Iannis Xenakis works, for digital art. Its graphical space spans several dimensions and time scales. Using a palette of fundamental objects such as triggers (events), curves (t

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The mechanical vibrations we shape and apprehend as artistic sound lend themselves to potentially infinite kinds of notation. Systems devised to plot, store, and recreate sonic events are more or less context-bound: western classical scores

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