{"id":1969,"date":"2019-05-30T17:30:56","date_gmt":"2019-05-30T15:30:56","guid":{"rendered":"https:\/\/patamusic.de\/graphic-orchestral-music\/"},"modified":"2021-08-10T10:38:01","modified_gmt":"2021-08-10T08:38:01","slug":"graphic-orchestral-music","status":"publish","type":"page","link":"https:\/\/patamusic.de\/en\/graphic-orchestral-music\/","title":{"rendered":"Graphic orchestral music"},"content":{"rendered":"\t\t
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Aspects of the design of contemporary orchestral music
with examples of graphic notation
\u00a9 Norbert Stein<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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This small compendium enables us to view and analyse key elements and design options of contemporary orchestra music beyond traditional notation in the five-line stave system.<\/p>\n

From the spectrum of possible states, movements and events in the orchestra pit described below, Norbert Stein has developed an artistically graphic sign language for his Pata compositions that is based on musical practice. This enables the generation of clear musical situations and events for an orchestra and the control of complex musical processes. Thanks to its openness with regard to which instruments are included in an ensemble, an infinite variety of resulting sounds is conceivable for the production of a graphic Pata ensemble.<\/p>\n

To give the individual expressiveness of an improvising orchestra pit an opportunity to develop its personality, its defining composition modules are designed to maintain the balance between “as specific as compositionally necessary<\/span>” and “as open as necessary for a lively orchestra<\/span>“.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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The orchestra geography and its possibilities<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Regions in the orchestra area<\/h3>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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The division of the orchestra into several spatial units enables the music to be presented as a regional event. The local regions in the orchestra pit can definitely supersede other internal limitations such as instrument families.
Various events in the various orchestral regions create the depiction and the experience of simultaneity\/parallelism<\/strong>.<\/p>

Example of the division of orchestra area into four regions:<\/p>

\"\"<\/p>

The switch of events from one region to another region or a switch of events within a region that remains the same creates transformation of the orchestra topography<\/strong>.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Regional movements in the orchestra area<\/h3>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Orchestra events can change their position in the orchestra area.<\/p>

Possible event movements are:<\/p>