Ping: Score: Mock-up fragment: description of certain of the "Timed Mixtures" that opunctuated the performed (partially improvised) continuity

In preparing for presentation of this work in the form of an explanatory score, I pasted text fragments such as this into a viable montage that allowed for page design. The score for Ping involved not only the necessary representation to the performers of sound events, time and relationships, but also an explanation of the entire context within which a performance was supposed to occur. In many inter-media works, the creators simply (?) guided events in performance by word of mouth and example. I tried, in contrast, to actually create a "score document" that would allow potential performers to grasp not only the aesthetic ends, and performance practice involved, but the overall logistical context. Ping is in three sections, identified as A, B, and C. Particular conditions shape the musical materials used in each section as well as the electroacoustic sounds (and their modification) and text projections (and their modifications). The performing musicians included a flutist, a pianist, and a percussionist who performed on harmonium, bowed cymbal and bowed tam tam. The tam tam and cymbal could produce specific pitches discovered in pre-rehearsal explorations by the percussionist. The flutist used certain non-standard multiphonics, and the pianist frequently addressed the strings of the piano directly rather than through the keyboard alone. The complete Beckett text from his short story, Ping", was projected by means of a set of slides designed by Karen Reynolds. These slides were presented from alternating left-right projectors. Two other operators controlled the use of optical prisms, and gradated color filters in order to fragment, disperse, and blur, artistically, the texts which were projected white letters in a black field (and were therefore open to color modification.)

• 1968

• Reynolds, Roger, 1934-

Based on: Beckett, Samuel, 1906-1989. Ping

Each Timed Mixture" (e.g., here, Invisible, Time, and White) has associated performed components and associated ring modulation. In the lower right corner begins an explanation of the P.S.D. ("Photocell Sound Distributor") that allowed for spatialization of both tapped and also performed, real-time electroacoustic materials.

• Scores

• Multimedia works
• Scores

• text

• English

Shared Shelf: 3975442

Online finding aid

• Roger Reynolds Collection at the Library of Congress

Film, Audio, Video and Digital Art

Performing Arts (including Performance Art)

UC San Diego Library, UC San Diego, La Jolla, CA 92093-0175 (https://library.ucsd.edu/dc/contact)

• Reynolds, Roger, 1934-

Under copyright (US)

Use: This work is available from the UC San Diego Library. This digital copy of the work is intended to support research, teaching, and private study.

Constraint(s) on Use: This work is protected by the U.S. Copyright Law (Title 17, U.S.C.). Use of this work beyond that allowed by "fair use" requires written permission of the UC Regents. Responsibility for obtaining permissions and any use and distribution of this work rests exclusively with the user and not the UC San Diego Library. Inquiries can be made to the UC San Diego Library program having custody of the work.

2021-09-29