Notes on the Composition

“Wandering Gardens” (?)

– A Sound Tribute to Paul Klee

The Score setting:(need to be better defined)

1. Each of the 24 performers has an individual score

2. The score can be defined on an uneven Matrix , which corresponds to irregular color squares in Klee’s painting. It can come with the very basic repetitive rhythms in a (uneven) metric time. or no repetitive rhythm but notes in a successive time ( such as . . . . . . ……… . )

Pitches:

The relative height of score on the frame can vaguely shows the changements of the pitch , yet never precisely corresponding to certain fixed pitch

Choice of Sounds: (need to be better defined)

ㄋㄚ‘ ㄚ’ ㄏㄚ‘ ㄏ Ｍㄧㄚ‘ Ar R

Cha Cha Cha, ㄑㄧㄚp ㄑㄧㄚp ㄑㄧㄚp ㄒㄧㄨ。ㄒㄧㄨ ㄒㄧㄨ 咻咻咻

Sh ㄒㄧ 噓 依。

Wimpers, death metal vocal tone, Kkk at high note

Sounds almost impossible to transcribe through alphabets

gémissant les paroles Insignifiantes

COLOUR-SOUND : See the color ,read the name of the color , such as seeing a red mass sign on screen then read out loud “red!” until the cursor go through the mass sign.

PUNCTUATION: See the point (.) , read it lound “POINT!” then see black color mass , reads “Black!” and combing it sounds : “Point! Black!” and so on

NUANCES/TEXURE : when the red comes with texture and nuance, such as uneven surface or gradients and mixed colours , the sound varies it’s expression as well. (need to be better defined)

Hand Motions:

* A: Each act (An act= Scrolling once on the cellular phone screen , say the cellular phone screen width= 16cm) can be set to 4 seconds in the score (already proved by real tests), always with the risk (and convenience) of turning it toward metrical time .

* B : With an pre-made animation score, no finger mouvement is needed (?), with a special wide graidient coloured cursor to indicate the time point with less precision . one frame (a page of score) can stay on the screen for 10 seconds or 18 seconds or 36 seconds. the risk is to make the performers passive in body action , the benefit is performers can concentrate more on reading and interpretations. .

*Each frame (a music sentence) could be of different length (on the screen / in the musical time) , However the cursor’s always setting to move at the same speed.

Body Motions :

Arrow (->) shows the performers’ body displacement direction: It suggests the performer can move toward left/right. forward/backward , so to synchronize the mouvement of all sound sources (performers) in the space.

(*) means showing yourself (?)

( # ) means hide yourself from the audience (?)

*These mouvements correspond to the very développements of the piece in the sense of pitch/color .

Screen Colors :

Can be used as the only light sources in the dark hall during performance .

my favorite colors after real tests with cellular phones : red-orange-brown-pink, warm series colors , it can variates in (not so perfect) synchrony , the color changing from left to right in screen could be beautiful Tested , white is strong and black is still evident for the near spectators , green and bleu are rather artificial , used with caution ) , warm colour series are often corresponding to Klee’s painting.

The Goal :

The Perfection of Mono Tape Music Aesthetics with Multi-Track technics ： Reducing the risk of inaccuracy in the performance of the non-professional interpreters and profit from the vagueness (approaching the sensibility of Klee)

Reference Scores in LINCHIWEI’s Model series:

7 Tones

Tick-Tocks

Chapelet Sonore

Calligraphy

Tape for Gross words – Zoviet*France

Talking Knots

Some other notes on Klee’s painting :

Rhythmiches :

1. Le temps : White-black-grey ,à 3 temps, un peu décalé
2. Le Ton : Nuance des couleurs/textures
3. Mélodie et durée : Ligne ondulé

Pflanzen Wochstum :

B. B. Blan Blan, Blanc Blanc

Jaune-Brun Marron-Noir brun-orangé

Feuer am Abend :

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Français:

Introduction :

Par rapport au Quipou sonore ou n’importe quel “Modèle” de la série, Tape Music Virtuel est conçu pour maximaliser la performance que l’ancien “Tape Music” n’arrivera jamais à achever du fait des limites des matières concrètes, qu’il soit sous forme de ruban ou sous forme de quipous, surtout concernant ces 3 points ci-dessous  :

1.Synthèse du (son) timbre :

Le choix des timbres n’est plus restreint, on peut utiliser à la fois plusieurs systèmes de symboles : des phonèmes composés de lettres d’alphabets, de ponctuations, de symboles mathématiques/physiques, de hiéroglyphes ou de toute écriture figurative, de quipous, de couleurs, de partitions graphiques et même de portées. C’est difficile, voire impossible pour les versions anciennes dites “concrètes” de Tape Music à de synchroniser tant d’informations à la fois.

2 . Synchronisation :

D’abord, la digitalisation de « Tape Music » rend un concert en ligne possible. Cela ne veut pas dire qu’il ne s’agit pas d’un concert traditionnel, organisé pour l’étage. La digitalisation libère la disposition des musiciens et des chanteurs. Concrètement, elle permet de bien synchroniser tous les musiciens sans avoir à regarder tous les gestes du chef d’orchestre. Elle aboutit à une synthèse du son « dispersé » ou « fracturé », en plaçant les interprètes partout dans une salle . Ensuite Il n’y aura moins de limites sur le nombre de pistes de la bande, ainsi dire du nombre d’interprètes, qui étaient restreints par la largeur et la longueur du ruban choisi dans les versions précédentes. Il n’y aura plus de décalage imprévu entre les interprètes dus à la différence de vitesse de transmission  (sauf pour le délai digital du réseau internet). Cependant, on peut toujours garder ou même chercher à élaborer ces qualités dans un autre but, avec la technique virtuelle de l’application de portable.

3. Interactivité :

La synchronisation digitalisé a nous a permis de développer des interactions entre les interprètes. Cela peut être conçu comme une bande virtuelle, qui  transmise parmi les interprètes en touchant l’écran et glissant le doigt sur le téléphone portable,  permettant à chacun de sentir la tension de la bande créée entre les interprètes, surtout quand ils ne transmettent pas la bande à la même vitesse. Cette capacité ne doit pas forcément être considérée comme une restriction d’interprétation mais plutôt comme un moyen d’être conscient des actions des autres (dans ce cas-là, de la vitesse de transmission) et surtout cela peut être inventif  par rapport aux informations extras que les interprètes peuvent obtenir des autres (même outre la tension de la bande virtuelle). Le but est  toujours de former une conscience collective non seulement grâce à la voix/aux sons que les autres ont produits/réalisés, mais aussi par le toucher et l’image (animation Flash).

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English:

Introduction :

Compared to the sound Quipou or any other “model” in the series, Tape Music Virtuel has been designed to optimize the performance that the old “Tape Music” will never be able to achieve due to the limitations of concrete materials, whether in ribbon or quipous form, especially concerning these 3 points below:

1. Timbre synthesis:

The choice of timbres is no longer restricted; several symbol systems can be used at once: phonemes composed of letters of the alphabet, punctuation, mathematical/physical symbols, hieroglyphics or any figurative writing, quipous, colors, graphic scores and even staves. It’s evidently difficult for older, “concrete” versions of Tape Music to work on so much information at once.

2. Synchronization:

First and foremost, the digitization of Tape Music makes an online concert possible. This applies not only to virtual live with remote attendees, but also adapt to the traditional concert hall or informal performance spaces. The digitization for me is an option to frees up the musicians’ and singers’ spacial arrangements, from the limits of live-synchronization . In concrete terms, it enables all the musicians to be properly synchronized without having to watch every gesture made by the conductor. This can result to the synthesis form “dispersed” and “fractured” sound, by placing the performers anywhere in a hall, even keep the performers moving all the time.                                 

Secondly, there will be no limit on the number of tracks on the tape, or the number of performers, which were restricted by the width and length of the tape chosen in previous versions. There will be no more unforeseen delays between interpreters due to differences in transmission speed (except for the digital delay of the Internet network). However, these qualities can still be preserved or even developed for another purpose, with the technique of application on cell phones or pads.

3. Interactivity:

Digitalization can also enabled us to conceive new interactions between the interpreters. Consider it as a virtual tape, which is transmitted between interpreters by touching the screen and sliding a finger over the cell phone, allowing everyone to feel the tension of the tape created between interpreters, especially when they don’t transmit the tape at the same speed. This unevenness should not necessarily be seen as a restriction on interpretation, but rather as a means of being aware of other actors’s condition( such as through the tension of the virtual tape) ,The aim is always to form a collective consciousness not only through the combined voice , but also through touch and image (Flash animation).

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 The Digital Score project (DigiScore) is funded by the European Research Council (ERC) under the European Union’s Horizon 2020 research and innovation programme .

https://digiscore.github.io