For centuries, we have accepted that musical notation is a fixed and irrefutable as the laws of physics. But to understand that musical notation as we know it today is a culmination of many iterations and failed languages that have gone before.
Using Typography as my basis, I re-conceptualised the approach to how music can be presented for performance in a new visual language.
Using Typography as my basis, I re-conceptualised the approach to how music can be presented for performance in a new visual language.
Using Philip Glass’ opera Einstein on the Beach, I was asked to investigate different ways of making visual typographic notations in order to create a score for this work. I was asked to consider a more Avant-garde approach, often found in graphic scores, oramics and eye
music; outside the realm of traditional music notation. The response was a score for a performance and, although there may be some aspect of interpretation, the final piece adheres to a rigorous internal logic.
music; outside the realm of traditional music notation. The response was a score for a performance and, although there may be some aspect of interpretation, the final piece adheres to a rigorous internal logic.
Idea Generation - Layout and Directional Progression
Experimenting with Musical Typographic Notation
Sample of the progression of Knee Play 1
The infamous and perfectly timed photo by Arthur Sasse, converted using typography
Concentric Circles
Segments of the concentric circles, arranged into a trailing pattern
Close up of Circle Bars
Layout for the score
A2 Poster design
