barbara jansen - BADA

experiments
avoiding making them appear as a single, longer note (see drawing previous
page bottom left, top green rectangle)? In case of inserting a space between
these two squares, the time line would be automatically increased, if the strict
counting meter was maintained. So, how to distinct those without changing
the counting time/meter? The same question applies for the coding process.
When playing an instrument, the distinction between successive notes is
created though different articulations. Variations in articulation define the
transitions between a series of notes and, therewith, how the single note is
played. For example they can be played as: legato = tied notes, nonlegato
= not tied notes. Thereby a series of tied notes is often marked via a bow
covering the range on top of them, and not tied notes are often played with
short breathing mark between them. Meaning the notes get shortened from
its strict counting meter. (Cf. (Musik-Steiermark, N.D., Wikipedia, N.D.,
Ziegenrücker, 1997) Articulation over-rules the counting meter. Different
forms of articulation in playing an instrument are often marked through extra
symbols as they indicate to the musician when and how the strict counting
meter is “overruled”. Taking this into the graphical notation system and especially
into coding there occures a problem, it can only handle precise “meters”/time
durations.
The graphical notation issue in this specific case was solved by shortening
one of the repeated pitches. However, the same issue concerns another series
of pitches where no direct repeat of a pitch occurs (see previous page bottom
right).
I received the comment the squares have a logic towards weaving construction
drawings, being a step closer to traditional symbols read by a textile designer.
Well, yes, it does in some way, however for me it mainly reminded to
read notes and that helped towards an understand of time based patterns.
Fusing everything into one notation system did not work, however, although
it may do so for someone else. I have a feeling that the different kinds of drawings
I make stand for different things or different views on a similar thing,
although I cannot put it into words at the moment.
For the very first time, a pause (= LED turned off) no longer creates a feeling
of blinking, as it did in rhythm exercise_part 1. A pause becomes another
rhythmic element. A voice inside the braid, beeing played and/or paused
equally influences the composition of a rhythmic light sequence.
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