scholarly journals Development of the SBIRT checklist for observation in real-time (SCORe)

Addiction ◽  
2017 ◽  
Vol 112 ◽  
pp. 34-42 ◽  
Author(s):  
Janice A. Vendetti ◽  
Bonnie G. McRee ◽  
Frances K. Del Boca
Keyword(s):  
Real Time ◽  
Time Score

A Real-Time Score Detection and Recognition Approach for Broadcast Basketball Video

2007 ◽  
Author(s):  
Guangyi Miao ◽  
Guangyu Zhu ◽  
Shuqiang Jiang ◽  
Qingming Huang ◽  
Changsheng Xu ◽  
...  
Keyword(s):  
Real Time ◽  
Time Score ◽  
Detection And Recognition

A Real-Time Score for Collaborative Just-in-Time Composition

2014 ◽  
Vol 19 (3) ◽  
pp. 260-267 ◽  
Author(s):  
Lonce Wyse ◽  
Jude Yew
Keyword(s):  
Real Time ◽  
Scoring System ◽  
Just In Time ◽  
Musical Experience ◽  
Time Score ◽  
Engagement Strategies ◽  
The Future ◽  
Short Time ◽  
Communications Strategies

This article explores listening and communications strategies that arise with a collaborative scoring system we are developing for use within improvisational contexts. Performers generate notation on a scrolling score a short time before it is played or rendered into sound. Working a short time in the future allows performers to respond to sound as they would in any improvisatory situation, and yet coordinate their activity through notation in a way typically associated with pre-composed music. The ‘Anticipatory Score’ platform supports the exploration of different kinds of relationships between performers, composers and audience members, and different listening and engagement strategies that affect the musical experience for all participants.

Electronic Scores for Music: The Possibilities of Animated Notation

2017 ◽  
Vol 41 (3) ◽  
pp. 21-35 ◽  
Author(s):  
Cat Hope
Keyword(s):  
Real Time ◽  
New Music ◽  
Music Notation ◽  
Time Score ◽  
Third Way ◽  
Performance Practices ◽  
The Real ◽  
Processing Power ◽  
Movement Dynamics ◽  
Animated Notation

This article argues that animated notations are the most exciting new direction for music notation since the conception of the real-time score. The real-time score revolutionized performance practices in new music, with the composer Gerhard E. Winkler calling it a “third way” between improvisation and fixed scores. Developing upon the idea of dynamic notation epitomized by the real-time score, animated notation features movement as its foundation, and may be presented as an interactive program, video, or application environment generated in real time or preset. It extends the possibilities presented by graphic notations, engaging the processing power of computing toward new complexities of shape, color, movement dynamics, form, synchronicity, and the very performability of music scores. Beginning with a brief historic overview of trends and background that may have informed the development of animated notation, I then examine contemporary practices and their application to a range of music. I will argue that animated notation brings particular benefits for scoring music featuring electronics and aleatoric elements.

The Demo: A Real-Time Score Detection and Recognition Approach in Broadcast Basketball Sports Video

2007 ◽  
Author(s):  
Guangyi Miao ◽  
Guangyu Zhu ◽  
Shuqiang Jiang ◽  
Qingming Huang ◽  
Changsheng Xu ◽  
...  
Keyword(s):  
Real Time ◽  
Time Score ◽  
Sports Video ◽  
Detection And Recognition

The Real-Time-Score: Nucleus and Fluid Opus

2010 ◽  
Vol 29 (1) ◽  
pp. 89-100 ◽  
Author(s):  
Gerhard E. Winkler
Keyword(s):  
Real Time ◽  
Time Score ◽  
The Real

Real-time Score Generation for Extensible Open Forms

2010 ◽  
Vol 29 (1) ◽  
pp. 3-15 ◽  
Author(s):  
David Kim-Boyle
Keyword(s):  
Real Time ◽  
Time Score

Generative Music for Live Performance: Experiences with real-time notation

2014 ◽  
Vol 19 (3) ◽  
pp. 276-285 ◽  
Author(s):  
Arne Eigenfeldt
Keyword(s):  
Real Time ◽  
Traditional Method ◽  
Mixed Media ◽  
Electroacoustic Music ◽  
Live Performance ◽  
Time Score ◽  
Generative Music ◽  
Final Goal ◽  
Expressive Performance ◽  
Generative System

Notation is the traditional method for composers to specify detailed relationships between musical events. However, the conventions under which the tradition evolved – controlled relationships between two or more human performers – were intended for situations apart from those found in electroacoustic music. Many composers of electroacoustic music have adopted the tradition for mixed media works that use live performers, and new customs have appeared that address issues in coordinating performers with electroacoustic elements. The author presents generative music as one method of avoiding the fixedness of tape music: coupled with real-time notation for live performers, generative music is described as a continuation of research into expressive performance within electroacoustic music by incorporating instrumentalists rather than synthetic output. Real-time score generation is described as a final goal of a generative system, and two recent works are presented as examples of the difficulties of real-time notation.

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