MAKEN0ISE and the Art of the Graphic Score: Iteration 4 Explored

In this latest chapter of the 12 String Iterative Music Project, Make Noise proposes a shift in creative focus—from the hands-on world of patch cables and reels to the more abstract realm of graphic scores. Rather than simply building patches or compiling sound reels, the project now encourages participants to design visual representations of musical ideas, laying the groundwork for compositions before a single note is played. This move is both a nod to experimental traditions and a practical invitation to rethink how modular music can be structured and shared.

The video sets the stage by recapping the project’s evolution: starting with raw 12-string guitar recordings, then iteratively processing and expanding them through successive reels. With over 50 unique sound splices now available, the sonic palette is broad enough to support a wide range of compositional approaches. The emphasis is on using these resources as the basis for scores that can guide, inspire, or even challenge performers to interpret sound in new ways.

Drawing inspiration from Terrence Dwyer’s ‘Composing with Tape Recorders,’ the video delves into various strategies for electronic composition. Narrative is one classic approach—music as storytelling, where sound illustrates a dramatic arc or sequence. Yet, as Dwyer cautions, following a plot too closely doesn’t guarantee compelling music; the structure must stand on its own, independent of any external story. The video echoes this sentiment, suggesting that narrative can be a spark, but shouldn’t become a crutch.

Tension and climax are highlighted as essential ingredients for dynamic compositions, especially in the absence of traditional harmonic progression. In the modular and tape music context, these qualities are achieved not through chord changes but by manipulating sound characteristics, dynamics, and temporal structures. The video suggests using techniques like varying segment lengths, modulating rates of change, and employing clock dividers to create evolving, unpredictable forms.

Non-linear and mathematical procedures also come into play, offering alternatives to conventional musical development. By organizing audio segments according to mathematical relationships or abstract plans, composers can craft pieces that unfold in unexpected ways. The emphasis is on experimentation—using the tools of modular synthesis to carve out new paths through sound, unconstrained by the usual rules of melody and harmony.

The video turns to Dwyer’s practical advice for planning electronic compositions, spotlighting the use of graphic scores as a bridge between concept and realization. These scores, often read left to right with time as the axis, use symbols and metaphors to represent sonic events and movements. While not the only method, this visual approach provides a flexible template for organizing complex modular pieces.

Participants are encouraged to create their own scores—whether meticulously detailed or loosely suggestive—without worrying about the technical hurdles of translating them into sound. The process is framed as an opportunity to define personal musical narratives, experiment with structure, and lay the groundwork for collaborative interpretation.