User:Natasa Siencnik/prototyping/notation: Difference between revisions

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Following piece of music is based on Kurt Schwitter's composition <i>Ursonate</i>, an early example of sound poetry from the 1920s. The sonata consists of a written organization of phonetics, organized in four movements according to classical musical structures and is meant to be performed by a speaker in public. Schwitters states that "[…] as with any other reading, correct reading requires the use of imagination" [http://www.stuttgarter-schule.de/schwitters3.htm], and encourages an alternation in rhythm, dynamic and density. However, no notes, tempi, or formal dynamics are given, allowing a variety of interpretations.  
Following piece of music is based on Kurt Schwitter's composition <i>Ursonate</i>, an early example of sound poetry from the 1920s. The sonata consists of a written organization of phonetics, organized in four movements according to classical musical structures and is meant to be performed by a speaker in public. Schwitters states that "[…] as with any other reading, correct reading requires the use of imagination" [http://www.stuttgarter-schule.de/schwitters3.htm], and encourages an alternation in rhythm, dynamic and density. However, no notes, tempi, or formal dynamics are given, allowing a variety of interpretations.  


Amazed by this abstract piece, its patterns, repetition and analytic approach to language, I tried to develop a tonal interpretation of Schwitter's notation. Like an equation, the characters are translated to notes, thus the phonetic notation is given an abstract tonal equivalent, resulting in a minimalistic and repetative musical piece. What Schwitters requests in terms of dynamic and rhythm, cannot be directly translated but is submitted to a mathematical pattern, which may result in tension through random dissonances.  
Amazed by this abstract piece, its patterns, repetition and analytic approach to language, I tried to develop a tonal interpretation of Schwitter's notation. Like an equation, the characters are translated to notes. Thus the phonetic notation is given an abstract tonal equivalent, resulting in a minimalistic and repetative musical piece. What Schwitters requests in terms of dynamic and rhythm, cannot be directly translated, but is subject to an underlying mathematical pattern, which may result in tension through random dissonances.  





Revision as of 08:34, 19 October 2010

Ursonate

Homage to Kurt Schwitters [1]

1 - Description
Following piece of music is based on Kurt Schwitter's composition Ursonate, an early example of sound poetry from the 1920s. The sonata consists of a written organization of phonetics, organized in four movements according to classical musical structures and is meant to be performed by a speaker in public. Schwitters states that "[…] as with any other reading, correct reading requires the use of imagination" [2], and encourages an alternation in rhythm, dynamic and density. However, no notes, tempi, or formal dynamics are given, allowing a variety of interpretations.

Amazed by this abstract piece, its patterns, repetition and analytic approach to language, I tried to develop a tonal interpretation of Schwitter's notation. Like an equation, the characters are translated to notes. Thus the phonetic notation is given an abstract tonal equivalent, resulting in a minimalistic and repetative musical piece. What Schwitters requests in terms of dynamic and rhythm, cannot be directly translated, but is subject to an underlying mathematical pattern, which may result in tension through random dissonances.


2 - Input example


3 - Output example


4 - Code

ursonate.txt

rakete rinnzekete
rakete rinnzekete
rakete rinnzekete
rakete rinnzekete
rakete rinnzekete
rakete rinnzekete
Beeeee
 	üdrei
dreia

         böwö
fümmsbö
         böwörö
fümmsböwö
         böwörötää
fümmsböwötää
         böwörötääzää
fümmsböwötääzää
         böwörötääzääUu
fümmsböwötääzääUu
         böwörötääzääUu 
fümmsböwötääzääUu 
         böwörötääzääUu pögö
fümmsböwötääzääUu pögö
         böwörötääzääUu pögiff
fümmsböwötääzääUu pögiff
         kwiiEe

notes.sed

s/[a-b]/c /g
s/[c-d]/c+ /g
s/[e-f]/d /g
s/[g-h]/d+ /g
s/[i-j]/e /g
s/[k-l]/f /g
s/[m-n]/f+ /g
s/[o-p]/g /g
s/[q-r]/g+ /g
s/[s-t]/a /g
s/[u-v]/a+ /g
s/[w-z]/h /g

s/ä/f+ /g
s/ö/g+ /g
s/ü/d+ /g
g+ c+ f d a d g+ e f+ f+ h d f d a d 
g+ c+ f d a d g+ e f+ f+ h d f d a d 
g+ c+ f d a d g+ e f+ f+ h d f d a d 
g+ c+ f d a d g+ e f+ f+ h d f d a d 
g+ c+ f d a d g+ e f+ f+ h d f d a d 
g+ c+ f d a d g+ e f+ f+ h d f d a d 
Bd d d d d 
c+ g a+ c+ g+ d e 
c+ g+ d e c+ 
d g 
c+ g h g 
d a+ f+ f+ a c+ g 
c+ g h g g+ g 
d a+ f+ f+ a c+ g h g 
c+ g h g g+ g a c+ c+ 
d a+ f+ f+ a c+ g h g a c+ c+ 
c+ g h g g+ g a c+ c+ h c+ c+ 
d a+ f+ f+ a c+ g h g a c+ c+ h c+ c+ 
c+ g h g g+ g a c+ c+ h c+ c+ Ua+ 
d a+ f+ f+ a c+ g h g a c+ c+ h c+ c+ Ua+ 
c+ g h g g+ g a c+ c+ h c+ c+ Ua+ g g 
d a+ f+ f+ a c+ g h g a c+ c+ h c+ c+ Ua+ g g 
c+ g h g g+ g a c+ c+ h c+ c+ Ua+ g g d+ g 
d a+ f+ f+ a c+ g h g a c+ c+ h c+ c+ Ua+ g g d+ g 
c+ g h g g+ g a c+ c+ h c+ c+ Ua+ g g d+ e d d 
d a+ f+ f+ a c+ g h g a c+ c+ h c+ c+ Ua+ g g d+ e d d

wrap.sh

cat << END

@head {
    \$time_sig 4/4
    \$tempo 120
}
@body {
    @channel 1 {
        \$patch 1
        \$octave 4
        \$length 16

END
 
cat << END

    }
}

END