Author Identifier (ORCID)
Abstract
This paper discusses the emergence of the Audio Score as a distinct compositional practice in which auditory communication, rather than visual notation, is the primary medium through which compositional information is conveyed to performers. Drawing on recent theoretical writing by Bhagwati, Sdraulig and Lortie, Schimana, and d’Heudières, the study situates Audio Scores within the evolution of technological, aesthetic, and ideological developments. The discussion proposes a framework distinguishing three core roles of auditory material in Audio Scores— orientation, emulation, and instruction—and seeks to clarify the boundaries between Audio Scores and adjacent practices. The analysis foregrounds performer experience as a critical site of evidence through detailed case studies of works by d’Heudières, Schimana, and the author, all performed by the Australian ensemble GreyWing.
Keywords
musical notation, representation technologies, interpretation
Document Type
Conference Proceeding
Date of Publication
5-21-2026
Publication Title
The Eleventh International Conference on Technologies for Music Notation and Representation
Publisher
mdw – University of Music and Performing Arts Vienna
School
Western Australian Academy of Performing Arts
RAS ID
100043
Creative Commons License
This work is licensed under a Creative Commons Attribution 4.0 License.
ISBN
978-0-6481592-2-3
Recommended Citation
Vickery, L. (2026). An exploration of audio-score techniques and practices. In Proceedings of the Eleventh International Conference on Technologies for Music Notation and Representation. Vienna, Austria.https://doi.org/