The speed of rhythms in live acoustic music, literally the velocity at which notes are sounding, can be defined in absolute terms based on clock time. But there is also the perceived speed that, in the simplest terms, states that musical material can seem fast, slow or some other relational quality.
I am studying the repertoire of contemporary music distinguished by physically parametricized notation. As a trombonist, I have performed this repertoire for years and have been frustrated by an insufficient literature indicating the practice of performing it.
An investigation into the use of the 8’ and 16’ violone in the music leading up to and including J. S. Bach’s compositions in northern Germany in the 17th and 18th centuries.
The research is focused on the development of the interaction between a live coder and an acoustic musician with focus on the pianist in particular.