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  • 1.
    Sköld, Mattias
    Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori. KTH Royal Institute of Technology, Stockholm.
    Combining Sound- and Pitch-Based Notation for Teaching and Composition2018Inngår i: Proceedings Proceedings of the International Conference on Technologies for Music Notation and Representation: TENOR'18 / [ed] Bhagwati, Sandeep & Bresson, Jean, Montreal, Canada, 2018, s. 1-6Konferansepaper (Fagfellevurdert)
    Abstract [en]

    My research is concerned with finding a common notation for pitch-based, sound-based and spatialized music in an attempt to bridge the gap between acoustic and electronic music, also working towards the possibility of a holistic system for algorithmic composition based on music representation. This paper describes the first step towards this goal, focusing on the combination of pitch-based and sound-based musical structures, introducing a graphical notation system that combines traditional music notation with electroacoustic music analysis notation. I present how this was tested in practice in a case study within the framework of composition education at the Royal College of Music in Stockholm, where composition students were working with, and reacting to, the system.

  • 2.
    Sköld, Mattias
    Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori. Medieteknik och interaktionsdesign, MID, Media Technology and Interaction Design, MID.
    Combining Sound- and Pitch-Based Notation for Teaching and Composition2018Inngår i: Proceedings Proceedings of the International Conference on Technologies for Music Notation and Representation: TENOR'18 / [ed] Bhagwati, Sandeep & Bresson, Jean, Montreal, Canada, 2018, s. 1-6Konferansepaper (Fagfellevurdert)
    Abstract [en]

    My research is concerned with finding a common notation for pitch-based, sound-based and spatialized music in an attempt to bridge the gap between acoustic and electronic music, also working towards the possibility of a holistic system for algorithmic composition based on music representation. This paper describes the first step towards this goal, focusing on the combination of pitch-based and sound-based musical structures, introducing a graphical notation system that combines traditional music notation with electroacoustic music analysis notation. I present how this was tested in practice in a case study within the framework of composition education at the Royal College of Music in Stockholm, where composition students were working with, and reacting to, the system.

  • 3.
    Sköld, Mattias
    Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori. Medieteknik och interaktionsdesign, MID, Media Technology and Interaction Design, MID.
    The Harmony of Noise: Constructing a Unified System for Representation of Pitch, Noise and Spatialization2017Inngår i: Proceedings of the 13th International Symposium on Computer Music Multidisciplinary Research / [ed] Richard Kronland-Martinet, Sølvi Ystad, Mitsuko Aramaki, Marseille: Les éditions de PRISM , 2017, s. 550-555Konferansepaper (Fagfellevurdert)
    Abstract [en]

    As a composer of both electroacoustic and acosutic works, I have been puzzled by the lasting discrepancy between the theoretical frameworks surrounding instrumental and electroacoustic music theory, particularly with regard to algorithmic composition. This text outlines the basic ideas for my doctoral studies, focusing on the digital representation of sound for composition, analysis and performance, both as data and graphic notation with the aim of bringing the worlds of acoustic and electronic music closer together.

  • 4.
    Sköld, Mattias
    Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori. KTH Royal Institute of Technology, Stockholm.
    The visual representation of spatialisation for composition and analysis2019Inngår i: Combined proceedings of the Nordic Sound and Music Computing Conference 2019 and the Interactive Sonification Workshop 2019 / [ed] Andre Holzapfel and Sandra Pauletto, Stockholm, 2019, s. 70-77Konferansepaper (Fagfellevurdert)
    Abstract [en]

    The motivation for this text is my ongoing research into creating a uniform and comprehensive notation system for music regardless of sound sources, acoustic or electronic. I propose a way to visually represent the positions and movements of sound in composition and analysis of music which in different ways utilises space as a parameter. I address a number of aspects of spatialised music to take into account when defining a notation language for the music. I suggest visually representing the room in different ways depending on how the music relates to the concept of space: as projections from the center of a sphere for more structural work, or as coordinates in a cubic room for works that depict a physical or imagined space. I also show how these descriptions of space are integrated with my existing notation system.

  • 5.
    Sköld, Mattias
    Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori. KTH Royal Institute of Technology, Stockholm.
    Visual Representation of Musical Rhythm in Relation to MusicTechnology Interfaces - an Overview2019Inngår i: Proceedings of the 14th International Symposium on Computer Music Multidisciplinary Research / [ed] M. Aramaki, O. Derrien, R. Kronland-Martinet, S. Ystad, Marseille, 2019, s. 725-736Konferansepaper (Fagfellevurdert)
    Abstract [en]

    The present paper presents an overview of the ways we make sense of rhythm through visual means in music in terms of visual representation and notation, relating this to the user interfaces of music technology. Besides enabling the communication of rhythmical ideas, our systems of music representation reflect how we make sense of rhythm as a music parameter. Because of the complexity of visually representing rhythm, only software-based solutions provide flexible enough representations of rhythm in user interfaces. While the user interfaces of much rhythm oriented music technology deal with rhythm in looped phrases of 4/4 time, there are several examples of tools that challenge conventional ways of working with and visually representing rhythm.

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