Hi, Kosmas

Just to be sure: in this new phase we can also develop on the material of the other composers, correct?

Will there be some sort of evaluation/selection from all the material produced? I fear that if we don't do this narrowing down soon, we will briefly have a lot of unrelated material -- in my view, a path that leads to a Frankenstein composition. Even though this is not necessarily a problem, it is not the concept we are working on, to the best of my comprehension.

Cheers!

Hi Marcio, yes the idea is that you can use any sketches you like and appropriate them for the specific section of the composition. Now you compose the beginning of the composition, so a good idea would be to build on the sketches that have been commented as supporting this function. We will have evaluations in phase in order to construct a single timeline from the 5 proposed branches.

Hi Kosmas, I am not quite sure that I get what is asked. We have not discussed any form or how we intend to use the material collected so far… I agree with Marcio that this could end up like a Frankenstein's bride, if there is no consensus on the form, overall atmosphere, how we are to use the material, how much of it or whatsoever. Could we set this up first? Best, D

...still on the topics of clarifications:

1. I think there is a problem with "Percussion instruments": why is "percussion instruments 4" marked as "selected" if "percussion instruments 3" has more points? I had worked on three on all but the last fragments, based on the biggest score accessed through the chat, and only in the end discovered that there was a "selected" one marked in the "phases" tab.

2. On a similar note, as in the last assignment  we worked on "non-selected" proposals, this means we have more than one percussion set composed for. I think we must at least define our percussion set in order to start composing the next stage.

In short: I agree with @davorius, and think we should not proceed before some sort of decision/clarification round. Perhaps a general Skype meeting?

yes - let's skype - I can do tomorrow or Friday, then travelling over the weekend, then free again next week, but I believe the sooner we clarify this the better.

I think I can do tomorrow or Friday in the afternoon, but I have to check on time (I am traveling and need to borrow a computer/wi-fi from my relatives, but I guess I can make it work).

Lets see how Kosmas & the others reply

Hi @davorius and @marcio-steuernagel,

about the percussion instruments: sorry I have made a mistake, the proposal with the more points is selected (I have corrected it now).

About the process: the previous phases was a sort of warm up. The purpose was that you become familiar with each other's conceptional, compositional and notational style and create a pool of ideas that may be useful for the next phases. The collaborative model will actually start now to function. This practice is totally new for you (only Lula has previous experience) and you will learn slowly how to handle it properly.

The form of the composition cannot be predefined, it will emerge as the result of your systematic interactions. For this first period of the development phase you need to compose the beginning of the composition. You can use any material from the previous phases but you are not obliged to do that, you are free to propose a beginning that introduce something completely new. But as we have collected conceptional and musical material, you will have more chances to have your root snippet selected if it is compatible with all this material. In another words, you can think that the previous phases was a way to know the group consensus, so that you will be able to compose music that is relatable to your fellow composers.

In this first period, we need to create 5 different beginnings - roots. From these 5 roots, 5 totally different compositions would be able to be created. With the evaluation we will see the most preferred  one and we will continue only this in the subsequent periods. You are responsible to compose a snippet and provide a title and comment that have the potential of becoming a full scale composition. In your comment you have the chance to describe a preliminary form that is related to your root snippet and possibly some of the collected material. Think of it as a proposal to your fellow composers, only this time, it is concrete composition and if selected the actual beginning of our composition.

I don't think we will be able to find all of us the same time tomorrow for a skype talk. This could be an interesting episode in the process but it has to be done properly. As I wrote you, we are a bit off in the schedule and I cannot extend the deadline tomorrow. Please give your best at submitting a conclusive beginning and support it well with your comment.

On Sunday we will have the "meso/macro structure reflection" in which you will submit comments on the development of the selected root snippet. These comments will be evaluated as well, and the selected comment will guide you for the next development period. The deadlines Thursday - Sunday will be fixed for now on, so please be punctual in order to achieve the much desired rhythm.

About the percussion instruments: I have shown Manu, our percussion player, the selected (the right one) percussion set and he said that it is totally ok. If you want something else, ask him (its better to tag him) in the forum, in the "Instruments and techniques" tab if he has and can play that instrument.

Dear All,

I know that this might be only me but 30-50 seconds will be impossible for me in the future. It is very hard to produce that much music and contribute to a musical flow that is not coming out of my personal realization of the piece's flow. I know that this sounds a bit provocative but we are composing a collaborative piece. 30-50 seconds is a duration that can be risky questioning the cohesion of the dramaturgical flow. Smaller fragments might force all of us to, "mysteriously" become one musical force... I am a bit skeptical. Thoughts?

Dear All, 

I have been a bit dealing with the same issues ... what Davor and Marcio pointed out, and also about he 30-50 seconds .....

will try my best, on what I can think that could make sense ....

but a question, could someone please clear what is the exact percussion set up. 

I am still confused ... 

many thanks

Anahita 

Sorry Kosmas, things pilled up - I'm 90% ready, will submit soon, just need a tit more time. Thanks for understanding, D

Hi everyone, thank you very much for your root snippets. Here (link) you can review them and evaluate them. We are going to use a different grading system this time which is very fair and doesn't produce ties. You are free to assign any point to any snippet. You can have as reference your own snippet (10 points) and relate your preference of the other snippets to that. The grades will be normalized in the range of 0 and 1 which will remove any bias. Keep in mind that this snippet is very important because, as the root of our tree,  it will determine the rest of the composition.

Please submit your evaluations until tomorrow 11.1.2020 at 23:59 in your local time zone. Then you will have one day to reflect on the meso/macro structure and submit a comment.

@kosmas

Quick question: in your post, you say we are "free to assign any point to any snippet", taking our own as a "10 points" reference. But in the evaluation tab,instructions tell us to "Leave your own snippet the grade 0". 

Just to be sure I understood correctly: we can compare others to ours AS IF we would ascribe it 10 points, but we should ACTUALLY give it 0 points -- is this correct?

@marcio-steuernagel yes exactly