Graphic Score for Diastrofismos (2019)

AbstractSonorama is a 2015 sonic artwork by Claudia Molitor, consisting of a number of audio files designed for listening on a train journey between London St Pancras and Margate, and a graphic score based on the composer's own ‘reading’ of this journey. This article analyses the relationship between the sonic and the spatial in the work, exploring how Molitor's site-specific composition interacts with its environment on multiple scales. By drawing on the strategy of ‘situated listening’ developed by Gascia Ouzounian, as well as urbanist language introduced by Richard Sennett, this article seeks to elucidate the relationship between a number of ‘nested’ spaces, present across varying realisations, and the political agenda that energises the work. Written in the midst of summer 2015's European refugee crisis, the work brings into sharp focus themes of British exceptionalism, immigration and inclusion.

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Making Signs Sound

The Music Technology Cookbook ◽

10.1093/oso/9780197523889.003.0039 ◽

2020 ◽

pp. 231-236

Author(s):

Johannes Treß

Keyword(s):

Visual Input ◽

Live Performance ◽

Interdisciplinary Nature ◽

Art Forms ◽

Graphic Score ◽

Dedicated Hardware ◽

Grade 8

This activity designed for students in Grade 8 aims to help learners translate visual impressions to sound. Learners are provided a graphical score as visual input first, then they go hunting for associative sounds from their immediate environment, which they record and edit afterwards. Finally, they integrate their samples into an experimental live performance of the graphic score using a dedicated hardware/software sampler. Engaging in this process results in learners improving their DAW fluency. The interdisciplinary nature of this project also reinforces the interconnectedness of various art forms and can help students to use other forms of art as inspiration in their future creative endeavors.

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COMPARISON BETWEEN INITIAL AND ACHIEVED ANTICOAGULATION LEVEL WITH PHLEBOGRAPHIC EVOLUTION IN PATIENTS WITH DEEP VEIN THROMBOSIS TREATED BY DIFFERENT HEPARINS

10.1055/s-0038-1644206 ◽

1987 ◽

Author(s):

R FAIVRE ◽

K KIEFFER ◽

D DUCELLIER ◽

F BILSTEIN ◽

J P BASSAND ◽

...

Keyword(s):

Deep Vein Thrombosis ◽

Day Treatment ◽

Randomized Study ◽

Low Molecular Weight ◽

Base Line ◽

Control Value ◽

Vein Thrombosis ◽

Recurrent Pulmonary Embolism ◽

Graphic Score ◽

Deep Vein

Effectiveness of standard heparin (SH) in patients (pts) with deep vein thrombosis (DVT) remains contreversial in regard with the subcutaneous (sc) or intravenous administration route.To determine the relation between initial (day 1 after the beginning of treatment) and achieved anticoagulation level with base-line to control (at day 10) phlebo-graphic score variations, we carried out a randomized study including 68 pts with acute (less than 2 weeks) DVT treated either by SH, 500 ui/kg/day or low molecular weight heparin (LMWH, CY 222, institut Choay, 750 u anti-Xa IC/kg/day), both given by 2 daily sc injections for 10 days. Plasma was collected at the middle (at 8 a.m) of 2 sc injections to evaluate aPTT (CK prest, STAGO) and anti-Xa activity (Stachrom, Stago). The results show that : 1/ Thrombus reduction was similar (thrombolysis more than 30%, 65% in SH pts and 64% in LMWH pts, p NS) ; 2/ in SH pts, phlebographic score variations were correlated neither with achieved anticoagulation level (mean aPTT of day 3, 5, 10) nor initial day 1 aPTT (R=-.33 and R = .03 respectively) ; 3/ in CY 222 pts, no modification of aPTT was observed during the 10-day treatment, and phlebographic score variations were correlated neither with initial nor achieved anti-Xa activity (R=.06 and R=.24 respectively) ; 4/ only 2 SH pts extended DVT and 1 patient in each group developed a recurrent pulmonary embolism in spite of a well initial or achieved anticoagulation level (aPTT >1.5 the control value in SH pts).In conclusion, SH- or LMWH-related anti coagulation (or antithrombotic) effect is certainly not the sole prognosis parameter for well achieving venous thrombolysis in patients with DVT.

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Treatise and the Tractatus

Journal of the Royal Musical Association ◽

10.1017/rma.2020.5 ◽

2020 ◽

Vol 145 (1) ◽

pp. 119-166

Author(s):

DAVID CLINE

Keyword(s):

Visual Imagery ◽

Picture Theory ◽

Free Improvisation ◽

Graphic Score

AbstractCornelius Cardew named his monumental graphic score Treatise after Ludwig Wittgenstein’s early philosophical masterpiece Tractatus logico-philosophicus, and this well-known fact has engendered speculation about whether there might be other connections between Cardew’s composition and Wittgenstein’s book. Previous commentaries have focused on possible allusions to the Tractatus in the visual imagery employed by Cardew, and this article includes further suggestions of this type. However, it concentrates on more general affinities between Treatise, as Cardew conceived of it prior to his involvement with the free improvisation group AMM, and the philosophy adumbrated in the Tractatus. Foremost among these is a striking concordance between Cardew’s initial enthusiasm for an isomorphic mode of interpreting Treatise and Wittgenstein’s picture theory of the proposition. The article also excavates traces of the picture theory in the numerological basis of Volo solo, a more conventionally notated by-product of the Treatise project.

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atmospheric etudes: no 1, troposphere

MacEwan University Student eJournal ◽

10.31542/muse.v5i1.2050 ◽

2021 ◽

Vol 5 (1) ◽

Author(s):

Mari Alice Conrad

Keyword(s):

Classical Music ◽

Life Experience ◽

Minority Group ◽

Artistic Practice ◽

Mature Student ◽

Music Score ◽

Multiple Variables ◽

Personal Vulnerability ◽

Graphic Score ◽

Returning To School

As a fourth-year music composition major at MacEwan University, Mari Alice Conrad was interested in exploring the concept of vulnerability. She was particularly inspired by her recent vulnerable experiences returning to school as a mature student and sought to understand these existential experiences in more depth. This curiosity led Conrad to design a research-creation project in her Ethnomusicology course that utilized her skills in composing a musical work that explored vulnerability on three distinct levels: personal vulnerability, societal vulnerability, and global vulnerability. The first level, personal vulnerability, plunged into Conrad's personal experiences as a mature student who, by age and life experience, had been socially segregated to a minority group, and how she was processing those experiences. The second level, sociological vulnerability, specifically focused on addressing societal traditions of classical music and notational conventions for the piano. Conrad sought to displace the customary approach she had developed with the instrument since childhood and considered ways to make the piano (an inanimate object) and its notated music vulnerable. The third level was a more global, ecological, or environmental vulnerability of the weather systems found in the troposphere, the first layer of the atmosphere. Conrad wanted to understand why this layer was extremely volatile and susceptible to multiple variables and how humans interacted with the vulnerability of this force. This third level was also an area that she could universally connect with her audience (hence the title of the composition) and acted as a bridge to explore the other two levels of vulnerability in her work. Throughout the research-creation process, Conrad was able to explore the three levels of vulnerability in tremendous depth, express her interactions and discoveries of these three levels, and further disseminate her findings through notating a graphic score, recording the composition, and crafting an audiovisual representation. The final result of the research-creation composition project (music score and video) brilliantly weaves together concepts of vulnerability in a compelling and meaningful way and shares insight into how these ideas influence and encapsulate Conrad's budding artistic practice.

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