This week's Disquiet Junto project is about interpreting a graphic notation score by musician and composer Franziska Baumann.

More on the 654th weekly Disquiet Junto project at https://disquiet.com/0654/

The cover image for this project is a detail of a graphic score, titled True Glimpses 1, by Franziska Baumann, used with her permission and the support of Musikfestival Bern. More on Baumann at franziskabaumann.ch.

Disquiet Junto Project 0654: Just Notation

living beings as gods: Togetherness

From the bandcamp EP “UNFOLD” (https://martinhoogeboom.bandcamp.com/album/unfold) with
Jukka-Pekka Kervinen: guitar/trumpet/electronics
Ulrich Langenbach: cello/viola/guitar/tapes
Martin Hoogeboom: objects/treatments/electronics

Mixed by Martin Hoogeboom
Mastered by Rupert Clervaux

Jukka-Pekka Kervinen: https://soundcloud.com/jpkervinen
Ulrich Langenbach: https://soundcloud.com/ulrichlangenbach
Martin Hoogeboom: www.martinhoogeboom.com
Rupert Clervaux: www.rupertclervaux.com

A Martin Hoogeboom Project (DS1388/2023)

UNFOLD

UNFOLD I (Jukka-Pekka Kervinen/Ulrich Langenbach/Martin Hoogeboom)

More on the 654th weekly Disquiet Junto project, Just Notation — The Assignment: Interpret a graphic score by Franziska Baumann — at https://disquiet.com/0654/

The image of the graphic score was inverted and sonified in the Metasynth image synth, the result of which was fed into a RAVE model trained on recent halF unusuaL tracks using Cocoon within Morpho from the wonderful people at Neutone ... This is the result and you can enjoy the accompanying visuals at https://youtu.be/GWVLIyx5kMM 

The cover image for this project uses detail from a graphic score, titled True Glimpses 1, by Franziska Baumann, used with her permission and the support of Musikfestival Bern. More on Baumann at http://www.franziskabaumann.ch/en/

visuals (YouTube)

halF noteD [disquiet0654]

An intuitive response to the graphic score derived from visual glimpses, as the title suggests. It comprises a series of atonal or microtonal sound clusters structured horizontally and vertically. The track was created in Pure Data with some additional reverb, etc.

More on the 654th weekly Disquiet Junto project, Just Notation — The Assignment: Interpret a graphic score by Franziska Baumann — at https://disquiet.com/0654/

The cover image for this project is a detail of a graphic score, titled True Glimpses 1, by Franziska Baumann, used with her permission and the support of Musikfestival Bern. More on Baumann at franziskabaumann.ch 2.

Just Glimpses (disquiet0654)

‘ordo ab chao’
Track created for the Disquiet Junto Project. http://www.disquiet.com
0654 =  Just Notation. Interpret a graphic score by Franziska Baumann.

Luna is a little atonal piece of improvised music for the piano, reflecting the stochastic character of this notation made up of lines, strokes, dusts, stains and transparencies.

Tools :
UAD Ravel Grand Piano.
NE Ruina, Waves Abbey Road Chambers, UAD Lexicon 224, and a few little 'prepared' fx :)
Recorded live, mixed and mastered with Logic Pro X.

****

More on this 654th Disquiet Junto project ("Just Notation. Interpret a graphic score by Franziska Baumann") at:
https://disquiet.com/0654

More on the Disquiet Junto at:
https://disquiet.com/junto/

Project discussion takes place on https://llllllll.co/

Associated image : Petrus Major.

Luna [disquiet 0654]

Content note: there are two mentions of self-harm in this track.

The invitation for this week's Disquiet Junto (#0654, "Just Notation") was to interpret a piece of graphic notation sheet music, a composition titled "True Glimpses" by Swiss experimental musician Franziska Baumann. 

The sheet music is organized into 5 rows of 7 staves. I interpreted the rows as vertically stacked layers and the columns as divisions of time. You can see the notation here: https://disquiet.com/wp-content/uploads/2024/07/TrueGlimpes-1-Franziska-Baumann-scaled.jpg

My interpretative performance consists of 5 layers of instrumentation (percussion, bass, synth pad, keys, and ebow guitar) exploring a sonic space divided into 7 tableaus. All tracks were recorded as improvised single takes without edits while following along with the score.

Self-reflection works best in stereo, so please enjoy "True Glimpses (Self-Portrait) with an empathetic pair of headphones. Recorded at NOSIGNAL Multimedia Lab in The Shambles. Chicago, USA.

More about this week's Disquiet Junto: https://disquiet.com/0654

Disquiet Junto

True Glimpses (Self-Portrait) (disquiet0654)

walk by your hand

The Assignment: Interpret a graphic score by Franziska Baumann.

See the feature-reel here: https://www.instagram.com/p/C9iXpNfMHa9/

There were many options with this particular graphical notation. Since I had an academic background, I initially planned to make 7 x 5 tiny piano movements. 

But – this time together with my girlfriend – we focused on the artistic quality of the notation. The inner images of a little story of a trip from New Jersey to Manhattan emerged. 

With and beyond all the noise of life, there is a deep trust.

By musically connecting many of her field recordings through a trip from New Jersey to NYC, we orchestrated many different impressions together while maintaining contact with the former academic, now cacophonous expression of notation.

Taking the staves into account, accelerations and rhythmically inappropriate situations underlined our approach.

Enjoy!

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More on the 654th weekly Disquiet Junto project, Just Notation — The Assignment: Interpret a graphic score by Franziska Baumann — at https://disquiet.com/0654/

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The cover image for this track contains a detail of a graphic score, titled True Glimpses 1, by Franziska Baumann, used with her permission and the support of Musikfestival Bern. More on Baumann at franziskabaumann.ch

walk by your hand (disquiet0654)

Graphic scores can be so beautiful as graphics, and also, sometimes, so very evocative as scores. I agree with the idea mentioned by @XHG that the main use of a score of any type is to allow music players to perform what the composer was imagining. In the case of a graphic score the directions are more ambiguous than a traditionally notated score. Thus we have all the beautiful interpretations submitted for this Junto, so varied, yet all inspired in some way by the same beautiful score by Franziska Baumann.

I don't know how to read western notation, and I can't play the piano, but I tried to perform the piece I imagined based on this score live with a grand piano patch from Roli's Equator while sending into FX in my modular which I tweaked to produce the echoes and scratchy fills which were responding to the pitches and levels of the performance in real time. I also used some plug-ins to shape the sound in Pro Tools. Modular FX included resonance, filters, PLL, modulators, delays. Pro Tools plug-ins included EQ, dynamics, tremolo, delay, and mastering tools.

So, after practicing and a lot of parameter tweaking, I recorded an improvisation of 35 short performance bursts, trying to capture the clusters of kinetic energy in the score, along with its layers and ambiguities and interconnections.

In the end I felt I needed to tighten up the spaces between the clusters after recording. Then quick mastering, and here you are..

Thanks to Mark, Tobias, and Franziska!

=========================================

More on the 654th weekly Disquiet Junto project, Just Notation — The Assignment: Interpret a graphic score by Franziska Baumann — at https://disquiet.com/0654/ 2

The cover image for this project is a detail of a graphic score, titled True Glimpses 1, by Franziska Baumann, used with her permission and the support of Musikfestival Bern. More on Baumann at franziskabaumann.ch 7.

Just Glimpses zoundsabar disquiet0654

The Assignment: Interpret a graphic score by Franziska Baumann.

More on the 654th weekly Disquiet Junto project, Just Notation — The Assignment: Interpret a graphic score by Franziska Baumann — at https://disquiet.com/0654/

The cover image for this project is a detail of a graphic score, titled True Glimpses 1, by Franziska Baumann, used with her permission and the support of Musikfestival Bern [you can see the image at disquiet.com/0654/]. More on Baumann at franziskabaumann.ch.

The image used for this song is one of my paintings. © Don MacKeen 2024

graphic design [disquiet0654]

More on the 654th weekly Disquiet Junto project, Just Notation — The Assignment: Interpret a graphic score by Franziska Baumann — at https://disquiet.com/0654/

The cover image for this project is a detail of a graphic score, titled True Glimpses 1, by Franziska Baumann, used with her permission and the support of Musikfestival Bern. More on Baumann at franziskabaumann.ch.

True Glimpses 1 Cluster Burn (disquiet0654)

Disquiet Junto Project 0654: Just Notation
The Assignment: Interpret a graphic score by Franziska Baumann.

This project is the second of three that are being done over the course of as many months in collaboration with the 2024 Musikfestival Bern, which will be held in Switzerland from September 4 through 8 (details at musikfestivalbern.ch). We are working at the invitation of Tobias Reber, an early Junto participant, who manages the festival’s educational activities. This year is the sixth in a row that the Junto has collaborated with Musikfestival Bern.

Step 1: Spend time observing this graphic score by Franziska Baumann, the Swiss composer and musician who is part of this year’s Musikfestival Bern. It is titled True Glimpses 1. There is a larger version available for download 12. More on Baumann at franziskabaumann.ch 7.

Step 2: Consider how the image in Step 1 can be interpreted as a graphic score. (If you’re unfamiliar with the concept of graphic notation, read up and join the conversion at the llllllll.co 3 link below.)

Step 3: Record a piece of music that interprets the graphic score from Step 1.

Tasks Upon Completion:

Label: Include “disquiet0654” (no spaces/quotes) in the name of your track.

Upload: Post your track to a public account (SoundCloud preferred but by no means required). It’s best to focus on one track, but if you post more than one, clarify which is the “main” rendition.

Share: Post your track and a description/explanation at https://llllllll.co/t/disquiet-junto-project-0654-just-notation/

Discuss: Listen to and comment on the other tracks.

Additional Details:

Length: The length is up to you.

Deadline: Monday, July 15, 2024, 11:59pm (that is: just before midnight) wherever you are.

About: https://disquiet.com/junto/ 1

Newsletter: https://juntoletter.disquiet.com/ 1

License: It’s preferred (but not required) to set your track as downloadable and allowing for attributed remixing (i.e., an attribution Creative Commons license)

WOT NO TABS! -disquiet0654

sound art for disquiet0654.

More on the 654th weekly Disquiet Junto project, Just Notation — The Assignment: Interpret a graphic score by Franziska Baumann — at https://disquiet.com/0654/ 2

woken by cats (disquiet0654)

I took Franziska Baumann's score and chose to read it left-to-right, top-to-bottom. However, I restricted myself to the first row of seven ideograms, mostly due to time constraints. I took each and transcribed the notes into Ableton and considered each to represent a bar. I then repeated the sequence six times with various instruments. I interpreted the smudges as harmonic distortion.

6 fifths (disquiet0654)

Musique Concrète November 2024

Antanniseven hat mein kleiner Bruder als Kleinkind immer zu "Kastanie" gesagt, das ist mir lebhaft in Erinnerung geblieben. Das Stück ist eine Hommage an meinen Bruder, der wie ich auch Künstler geworden ist!

____________

My little brother used to say Antanniseven to "chestnut" (Kastanie) when he was a toddler, and I remember it vividly. The piece is a tribute to my brother, who, like me, also became an artist!

Antanniseven

Live recording (stereo downmix) from live@CIRMMT in December 2024.

Antonin Bourgault, tenor saxophone
Audréanne Filion, violoncello

Mixing and mastering:
Yulin Yan

Cover picture © Manuel Mathieu

Studies for the Second Womb | live@CIRMMT_v2024 | excerpt-2

My 33 1/3 series book about the Aphex Twin album <i>Selected Ambient Works Volume II</i> was published in 2014. The book was one of the top 5 bestselling titles for the calendar year, and in 2015 was ranked by Pitchfork as one of the "33 best" of the 100-plus books in the 33 1/3 series. It has subsequently been translated into Japanese (2019) and Spanish (2018)

Since 2012 I have moderated the Disquiet Junto group, which began on SoundCloud. More at disquiet.com/junto. 

I've written for Nature, Pitchfork, The Wire, Down Beat, Boing Boing, NewMusicBox, Red Bull Music Academy, Art Practical, the website of The Atlantic, and many other publications. 

I've exhibited sound art at galleries in Los Angeles (Crewest), Manhattan (apex art), and Dubai (DUTAC), and I had a audio-visual installation at the San Jose Museum of Art as part of its 45th anniversary.

And since 1996 I've run the website Disquiet.com about the intersection of sound, art, and technology.

Abstract Sound Structures, Musique Concrète & Live Electronics.
Experimental abstract animation videos.
It is my aim to create and/or edit my tracks & videos using free or open-source software only.
Influences include: J.S. Bach, John Cage, Iannis Xenakis, Giacinto Scelsi, Mauricio Kagel, Conlon Nancarrow, Christian Wolff, Harry Partch, Luc Ferrari, Morton Feldman, Cornelius Cardew, Bernard Parmegiani, Ana-Maria Avram, David Tudor, Alvin Lucier, Pauline Oliveros, Renaissance Polyphony.
All my work is published under a Creative Commons licence & can be freely downloaded (as wav) or remixed.

Just Glimpses (disquiet0654)

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