From Notation to Composition:How in my practice the exploration of notational possibilitieshas led to new compositional opportunities

This paper explores my experiments with computer animated notation. It examines how I turned to<br/>computer animated notation to address issues with static musical notation. In particular looking at<br/>the work of Nancarrow, Cage, Tenney, and how a number of these composers' approaches<br/>presented difficult challenges for traditional musical notation. I then discuss how computer<br/>animated notation can provide some interesting solutions to the notational problems provoked in<br/>these works.<br/>In the second part of the paper I investigate how addressing these notational challenges has led to<br/>new prespectives on the compositional process and has introduced new considerations into my<br/>compositional practice including time as musical material, real-time and multi-nodal interaction<br/>with the score, networked score environments with the possibility of physically distributed<br/>performance, performer feedback and communication, and interaction between notation and other<br/>media including visual media and movement.