Long but very interesting read. Courtesy to Sounding Out! for this article.
If you were to choose to watch live video composer and performer Ana Carvalho’s work silent, your brain would be easily guided into a synesthetic experience, assigning sounds to each rhythmic change in color, pace, frame. Her images oscillate…they dance, they breathe. As you experience this, there might be a sense that you have lost your ability to hear the outside world, as these images are clearly attached to, woven with, a part of sound.
There is a history of composers such as Iannis Xenaxis and Cornelius Cardew using graphic scores and notation in place of traditional methods and symbols, as a way to reach a deeper expression through allowing greater interpretation, chance, and improvisation with their musicians. They concentrate more on conveying information on how a work is played, rather then what notes to play when. Carvalho uses the graphic score much in the same way, but also as a…
View original post 2,254 more words