Byzantine music notation software2/2/2023 After running Bohor through a computerized pitch and amplitude tracking algorithm, it was found that the first four contours represented the amplitude for each source, while the bottom graph represented the composite course of pitch for each track. It traces the evolution of the 4 distinct layers, but due to the unconventional nature of this musical notation, it was not clear how they should be interpreted. Since no score exists for Bohor, this sketch worked as a guide for analyzing the work. These diverse sources were transformed and assembled into a seamless sound continuum, anchored by a heavy drone derived from the Byzantine chant and Laotian mouth organ, and clothed by percussive sound patterns derived from the prepared piano and bell-trimmed jewelry. Xenakis recorded sound samples of each of the four materials, and manipulated each by stretching, compressing, or assembling different fragments.Įach corresponds to one of the four sound sources used to create Bohor, as indicated by Xenakis in shorthand toward the left margin of this slide. More notably, they also reveal two additional sources previously unknown: Byzantine chant and piano. The sketches for Bohor verify the two known sound sources already documented, the Laotian mouth organ and various “Oriental” bracelets. Here is some selected info found in Masterpiece’s of 20th-Century - Bohor Yes indeed! Propably an 8-channel listening would be more revealing…
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