This presentation will focus on the creation of a performance score with Audiosculpt.

As a composer/performer, I believe music notation needs to convey the composer's ideas and intentions efficiently, leading the performer(s) to an accurate understanding of the structures and leaving room for a creative interpretation. For such purpose, I have been using the sonogram and waveform analysis in Audiosculpt as structural parts of my scores.

I deem such graphic representation to be rational and detailed but also intuitive since the visual elements directly correspond to the way we perceive it aurally. Therefore, to read and understand them, only a minimal effort is required to learn Audiosculpt's graphic conventions, which is an advantage if compared with works like Ligeti's Artikulation or Carl Bergstroem-Nielsen's aural scores.

In the presentation, I will describe my notation system based on sound phenomena representation used in my compositions Ricercare II (for alto sax) and IV (for soprano), both with fixed media (multichannel tape) and live electronics. Furthermore, I will illustrate my approach to guided improvisation through a special audio track created for practice purposes.

Marco Bidin is a composer, organist and harpsichord player, currently working as a Lecturer for the Studio for Electronic Music at the HMDK Stuttgart.

After graduating in Organ, he studied Early Music in Trossingen and Contemporary Music performance in Stuttgart, where he recently completed the Concert Exam in Composition and the Certificate of Advanced Studies in Computer Music under the guidance of Prof. Marco Stroppa.

He lectured, gave courses and performed as a soloist in Europe and Asia, and his compositions have been performed in Germany, France, Portugal, Italy, Canada, South Korea, Japan and China.

Composing and improvising with Electronics: extended scores for visual-aural Electronics