 | | | | |  | | | An exhibition at the Jerwood Space
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A collection of ideas and artifacts that explore the relationship between the musical score, image, text and sound in electronic music and sound art.
Gallery at Jerwood Space, 171 Union Street, London SE1 0LN
Saturday 14 May to Friday 3rd June 2005
Monday - Saturday 10am to 6pm. Free entry | | | |
| Nick Rothwell - Triptychos | | | | | | 
Triptychos is a digital media triptych commissioned especially for Cut and Splice. The piece transforms real-time images from a video camera into an abstract graphical music score, and interprets the score to play an interactive, algorithmic soundtrack.
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| Golan Levin/Zachary Lieberman - Messa di Voce | | | | | | 
An audiovisual system in which the speech, shouts and songs produced by gallery visitors are radically augmented in real-time by custom interactive visualisation software. (2003)
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| Kurt Schwitters - Merz 24, Ursonate | | | | | | 
Realising that some phonetic notation for the Ursonate was essential if the piece was not to die with him, Schwitters finally published his notations as the last number of his Merz magazine. (1932)
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| Stanza - Amorphoscapes | | | | | | 
Interactive, generative, audio-visual digital painting and drawings providing a seductive, multi-sensory non-linear experience. (1999 - 2001)
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| Tristram Cary - Nonet | | | | | | 
This graphic matrix represents the 'source score' for Cary¹s computer music piece. A further 'realisation score' was required to be generated before computer data entry could occur.
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| Jonathan Harvey - Sketches from Mortuos Plango Vivos Voco | | | | | | 
A selection of the composer's sketches from the development of this famous British electroacoustic work, based partly on the sound of the great tenor bell at Winchester Cathedral (1980)
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| Daphne Oram - Sketches for the Oramics System | | | | | | 
The technique of Oramics consisted of drawing onto a set of ten synchronised strips of 35mm film which covered a series of photo-electric cells that in turn generated an electrical charge to control the sound frequency, timbre, amplitude and duration. (1959)
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| George Brecht - Water Yam | | | | | | 
Cage's influence led to the event cards for which Fluxus would become well-known, an evocative form whose power is best appreciated in the works of George Brecht, collected and published as Water Yam.
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| Norman McLaren - Dots; Loops; Pen Point Percussion | | | | | | 
McLaren created "Animated sound", a form of 'visible' or synthetic sound made by hand-drawings on the sound-track of the film seen in his films Dots and Loops. He explains his method in the short film Pen Point Percussion.
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| Trevor Wishart - Anticredos | | | | | | 
Two pages from the original score of Wishart's piece for 6 amplified voices. This piece consolidated Wishart's research into the production and scoring of extended vocal techniques. (1980)
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| Christina Kubisch - Sketches from Tempo Liquido | | | | | | 
Sketches from one of a series of video performances made by installation artist Kubisch and visual artist Fabrizio Plessi. (1978)
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| Tim Souster - Spectral | | | | | | 
Sections of the graphic score part from this piece for viola, tape-delay systems and live electronics, based on transcriptions of the song of the hump-backed whale. (1972)
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| Hugh Davies - Spring Boards | | | | | | 
Two of the famous amplified performance interfaces created by the late Hugh Davies presented here for visual consideration alone. These object/instruments fuse function and a delight in the 'readymade'.
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Cut and Splice on the BBC:
Home
Cut and Splice 2005:
Concerts
Online Exhibition
Gallery Exhibition
New Music on R3:
Hear and Now
Late Junction
Mixing It
Elsewhere on BBCi:
Experimental at BBCi Music
Elsewhere on the web:
Sonic Arts Network
Jerwood Space
The Wire
I.C.A. | | | | | | | | |
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