This course aims to introduce performers and composers to the world of graphic and animated musical scores. Musicians and visual artists have been aware of the close relation between visual elements and sounds since music notation has been conceived. In the last century, experimental music has often shared common ground with the world of visual arts, developing a new kind of music notation, stepping away from traditional representation of music and granting the performers a greater artistic freedom and a bigger agency on the final sonic result.

The Animated Score Laboratory (ASLab) will be space for the study and performance of graphic and animated scores; open to instrumentalists, singers, composers and visual artists, will guide its members towards the development of a collective interpretation of the most significant works of this genre. A theoretical background will be offered, starting from the first experimentation with graphic scores, focusing on the central figure of British composer Cornelius Cardew and his Treatise, to then continue exploring the most recent outcomes of animated scores, including the works by S.L.Á.T.U.R. collective and Decibel Ensemble. ASLab will then dive into practice, experimenting with the performance of existing scores and with new material created specifically for ASLab.

This course aims to introduce performers and composers to the world of graphic and animated musical scores. Musicians and visual artists have been aware of the close relation between visual elements and sounds since music notation has been conceived. In the last century, experimental music has often shared common ground with the world of visual arts, developing a new kind of music notation, stepping away from traditional representation of music and granting the performers a greater artistic freedom and a bigger agency on the final sonic result.

The Animated Score Laboratory (ASLab) will be space for the study and performance of graphic and animated scores; open to instrumentalists, singers, composers and visual artists, will guide its members towards the development of a collective interpretation of the most significant works of this genre. A theoretical background will be offered, starting from the first experimentation with graphic scores, focusing on the central figure of British composer Cornelius Cardew and his Treatise, to then continue exploring the most recent outcomes of animated scores, including the works by S.L.Á.T.U.R. collective and Decibel Ensemble. ASLab will then dive into practice, experimenting with the performance of existing scores and with new material created specifically for ASLab.

This course aims to introduce performers and composers to the world of graphic and animated musical scores. Musicians and visual artists have been aware of the close relation between visual elements and sounds since music notation has been conceived. In the last century, experimental music has often shared common ground with the world of visual arts, developing a new kind of music notation, stepping away from traditional representation of music and granting the performers a greater artistic freedom and a bigger agency on the final sonic result.

The Animated Score Laboratory (ASLab) will be space for the study and performance of graphic and animated scores; open to instrumentalists, singers, composers and visual artists, will guide its members towards the development of a collective interpretation of the most significant works of this genre. A theoretical background will be offered, starting from the first experimentation with graphic scores, focusing on the central figure of British composer Cornelius Cardew and his Treatise, to then continue exploring the most recent outcomes of animated scores, including the works by S.L.Á.T.U.R. collective and Decibel Ensemble. ASLab will then dive into practice, experimenting with the performance of existing scores and with new material created specifically for ASLab.

Composer Eveline Vervliet and Instrumentalist Marco Fusi work together in the creation of a new work for viola, electronics and video. During a residency at Q-02, they will research an audiovisual, interactive framework. Within this framework, the movements of the musician influence an electronic soundtrack and a video.

Driven by an interest in unpredictable structures, Eveline will work with interpretable score elements that function as modules within an open form. The interpretation by Marco will influence the deformation of the electronics. Via a live-processed video, the audience will see visual counterpoints of these deformations.

At the core of this artistic experiment are the following questions: How can one create a clear interactive structure without getting stuck in repetitive loops? How much compositional control is desired, and how much is possible? How much instrumental control is desired and possible?

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This course aims to introduce performers and composers to the world of graphic and animated musical scores. Musicians and visual artists have been aware of the close relation between visual elements and sounds since music notation has been conceived. In the last century, experimental music has often shared common ground with the world of visual arts, developing a new kind of music notation, stepping away from traditional representation of music and granting the performers a greater artistic freedom and a bigger agency on the final sonic result.

The Animated Score Laboratory (ASLab) will be space for the study and performance of graphic and animated scores; open to instrumentalists, singers, composers and visual artists, will guide its members towards the development of a collective interpretation of the most significant works of this genre. A theoretical background will be offered, starting from the first experimentation with graphic scores, focusing on the central figure of British composer Cornelius Cardew and his Treatise, to then continue exploring the most recent outcomes of animated scores, including the works by S.L.Á.T.U.R. collective and Decibel Ensemble. ASLab will then dive into practice, experimenting with the performance of existing scores and with new material created specifically for ASLab.

Giacinto Scelsi and animated scores

Alternative ways to represent Scelsian original tapes through the design of interactive animated scores.

Marco Fusi, violin
Aaron Einbond, sound projection

Scandinavian tour in collaboration with Martin Bauck (composer and live electronic)

Martin Rane Bauck - Hoots! (2020) - 15’ - Amplified violin
Yu Kuwabara - New work (2020) - 10’ - Viola d’amore _ WP
Bara Gisladottir - ORF (en líka axir og önnur pynintgatæki) (2018) - 8’ - Viola d’amore and live electronics
Laura Steenberge - Four Studies for Viola d’Amore (2019) - 9’ - Viola d’amore solo
Kristine Tjøgersen - New work (2020) - 10’ - Viola d’amore and video - WP
Lauri Supponen - Gaz aux étages (2016/20) - 7’ - Viola d'amore - World premiere

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Marco Fusi, Violin and Viola d’amore
Martin Rane Bauck, live electronics

Seminar on Giacinto Scelsi and the transcription of his original tapes in animated scores for the Reseach Department of the The Sir Zelman Cowen School of Music, Monash University.

In collaboration with the Italian Institute of Melbourne.