An Atomic Approach to Animated Music Notation

Since the turn of the century, and in particular the last 15 years, 1 the discourse surrounding dynamic scoring techniques and practices has increased dramatically, while leading to an increasingly disparate terminological melee. With an awareness of what implications may exist in the premature analysis and theorization of an emerging field of practice, the author argues that in order to further develop the discourse surrounding dynamic scoring techniques and practices, it may be useful to take a reductionist approach toward defining the various lowlevel elements of dynamic scoring, in the case of this paper those elements that feature prominently in Animated Music Notation [AMN]. By targeting a set of low-level elements, and isolating the actualized indicators of contact and intersection as the primary functional components of AMN, the author will propose a working definition of AMN supported by examples drawn primarily from the author’s work, 2 and the descriptive language generally employed during the author’s compositional, rehearsal and performance experiences. To this end, this definition is not intended to entirely satisfy the broad range of dynamic scoring techniques that implement AMN, but to highlight prevalent methodologies, point toward the extension of existing taxonomies, and distinguish AMN as a notational methodology contained by the more general entity of the 1 Due in large part to Contemporary Music Review, Vol. 29, No. 1, Organized Sound, Vol. 19, Special Issue 03, Leonardo Music Journal, Vol. 21, and animatednotation.blogspot.com. It is also important to note that dynamic scoring practices can be traced back well into the 20 century, but given the scope of this paper cannot be covered in detail. 2 The author here acknowledges the potential downside of an analysis that focuses largely on the author’s work, but contends that the concepts put forth are, while contextually-limited, available for expansion and generalization. dynamic score, a methodology meant to clarify two basic compositional parameters: what to do and when to do it.