OpenSound Control: state of the art 2003
NIME '03 Proceedings of the 2003 conference on New interfaces for musical expression
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Beginning in the middle of the twentieth century, composers of experimental music developed a number of new notational representations, most often falling under the category of graphical scores. John Cage's Variations II is a prime example, utilizing only dots and lines as its basis. I describe an interactive version of Cage's piece, called here Variations 10b, where a performer can change the score and receive immediate auditory feedback as to the results of the manipulation. This stands in contrast to the process of working through the analog score, where the aural output was not coincident with movement of the dots or lines. I suggest that creating and using digital versions of these early experimental music works radically changes the process of interacting with the pieces.