{"id":538,"date":"2015-04-22T16:57:12","date_gmt":"2015-04-22T16:57:12","guid":{"rendered":"http:\/\/michael-edwards.org\/wp\/?p=538"},"modified":"2015-05-09T11:29:44","modified_gmt":"2015-05-09T11:29:44","slug":"for-rei-as-a-doe-annotated-timeline","status":"publish","type":"post","link":"https:\/\/michael-edwards.org\/wp\/?p=538","title":{"rendered":"for rei as a doe: annotated timeline"},"content":{"rendered":"

Artists Colin Lawson<\/a> and Chante Inglis<\/span>\u00a0 are working on a video using Colin’s paintings as visuals alongside my 40-minute piano and computer piece\u00a0for rei as a doe<\/em>. This has already been documented<\/a>\u00a0but in order to give Chante and Colin some orientation points in this long work I did an analysis of the pre-compositional structuring, in particular the start points of the rhythm sequences. The entrance and number of repeating sequences that increasingly dominate the work are perhaps of most significance here.<\/p>\n

Tags such as “long3b,a” refer to the IDs of the rhythm sequences <\/a>which make up the piece. In this example, the right hand plays sequence long3b; the left hand plays long3a. (The two computer voices will play long3c and long3d but these are not notated below.)<\/p>\n

The “Letter” entries indicate the rehearsal letters in the score<\/a>. These often correspond to the start of a rhythmic sequence, but not always. Similarly, some long pauses happen mid-way through a rhythmic sequence–these were added\/extended\/elaborated\/edited in response to the algorithmically generated score.<\/p>\n

 <\/p>\n

00:02.822 e-bow tone on middle D string
\n00:26.944 long3b,a
\n00:42.670 studio door squeeks
\n01:24.040 long2a,c
\n02:40.250 long1b,d
\n03:36.410 long3d,c
\n03:58.670 Letter A
\n05:02.720 long1a,d
\n06:06.680 repetitions1a,d (x3)
\n06:25.600 long2b,d
\n07:21.150 long1d,a
\n08:16.570 long3d,c
\n09:11.420 Letter B
\n09:57.460 repetitions2d,c (x5)
\n10:27.310 long2a,b
\n10:37.150 fast notes
\n11:24.210 long1d,a
\n11:48.840 Letter C: big chord, gongs fwds and bkwds
\n12:05.710 for me the most highly charged moment in the whole piece
\n12:39.660 long2c,b
\n12:48.040 fast notes
\n13:14.850 sigh
\n13:18.210 ‘get on with it’
\n13:40.220 repetitions3c,b (x3)
\n14:03.220 long3c,a
\n15:33.330 long2a,c (Letter D in CMN-generated score)
\n16:40.940 repetitions2a,c (x5)
\n17:37.160 long1c,d: these composers go on and on and on, don’t they?
\n17:44.264 Letter D (end of the 15min version)
\n18:01.135 only staccato note in whole piece
\n18:37.982 long3d,b
\n18:51.748 high pluck
\n19:04.677 darkest most brooding place in the whole piece
\n19:46.331 repetitions1d,b (x7)
\n20:26.851 long2a,b
\n20:34.346 Letter E
\n20:43.394 fast notes
\n21:31.911 repetitions3a,b (x11)
\n22:37.344 Letter F: long3a,d
\n23:38.850 more unintelligible vocal interruption
\n23:54.467 Letter G: long1b,a (end of 21 min. version)
\n25:02.129 repetitions1b,a (x7)
\n25:45.680 long3c,a
\n26:05.820 computer glissando tone
\n26:57.072 long1d,b
\n27:22.620 high pluck
\n27:54.565 repetitions3d,b (x13)
\n29:14.445 Letter H: long2b,c
\n29:33.555 fast notes
\n29:46.700 dog barking
\n30:30.003 long3c,d
\n31:00.035 creeking studio door
\n31:30.293 repetitions2c,d (x11)
\n32:39.335 Letter I: long2b,c
\n32:41.735 groan
\n32:58.199 fast notes
\n33:24.639 synth tone glissando
\n33:58.691 repetitions3b,c (x13)
\n35:04.304 long1c,b
\n36:30.990 Letter J: repetitions1c,b (x17)
\n38:09.060 piano notes end
\n38:37.412 e-bow on middle D string
\n39:09.998 e-bow on middle C string<\/p>\n","protected":false},"excerpt":{"rendered":"

Artists Colin Lawson and Chante Inglis\u00a0 are working on a video using Colin’s paintings as visuals alongside my 40-minute piano and computer piece\u00a0for rei as a doe. This has already been documented\u00a0but in order to give Chante and Colin some orientation points in this long work I did an analysis of the pre-compositional structuring, in […]<\/p>\n","protected":false},"author":1,"featured_media":539,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2,27,11],"tags":[],"class_list":["post-538","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-algorithmic-composition","category-composition","category-composition-documentation"],"_links":{"self":[{"href":"https:\/\/michael-edwards.org\/wp\/index.php?rest_route=\/wp\/v2\/posts\/538","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/michael-edwards.org\/wp\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/michael-edwards.org\/wp\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/michael-edwards.org\/wp\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/michael-edwards.org\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=538"}],"version-history":[{"count":8,"href":"https:\/\/michael-edwards.org\/wp\/index.php?rest_route=\/wp\/v2\/posts\/538\/revisions"}],"predecessor-version":[{"id":593,"href":"https:\/\/michael-edwards.org\/wp\/index.php?rest_route=\/wp\/v2\/posts\/538\/revisions\/593"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/michael-edwards.org\/wp\/index.php?rest_route=\/wp\/v2\/media\/539"}],"wp:attachment":[{"href":"https:\/\/michael-edwards.org\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=538"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/michael-edwards.org\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=538"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/michael-edwards.org\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=538"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}