‘John Cage and the Concert for Piano and Orchestra’ was an AHRC-funded project led by Philip Thomas and Martin Iddon at the Universities of Huddersfield and Leeds. The project encompasses a book publication (also reviewed in this issue) as well as performances, recordings, a website, an international conference and two web apps. The Concert for Piano and Orchestra (1957–58) is a formidable and complex piece. It comprises several possible simultaneous solos, each with its own notations: Solo for Piano (63 pages of 146 notations of 84 types) and orchestral solos (12 or 16 pages). The instructions for performance allow for any combination of instruments, and any number and combination of pages and notations of the score. The project, including the apps, provides insights into the possibilities for future performances of the piece as well as the understanding of the work through its notations and performance. In an online demonstration, Thomas explained that one of the best ways to understand the piece is through playing it, which is not always possible; this is where the apps are extremely useful. The Solo for Piano app, designed by Christopher Melen, is a notation-based app which enables the user to explore the notations for the piano as well as their limits. Whereas the Concert Player app, designed by Stuart Mellor, allows users to hear the Concert for Piano and Orchestra in many different combinations which can be randomised or chosen manually. Both apps are currently in an advanced Beta stage of development. They are intuitive and easy to use with in-depth guides, and as web apps they are accessible on any device. The apps will interest performers, composers, musicologists, students, professionals, and nonprofessionals. For example, I explored the apps as a composer interested in the notations and their flexibility, as well as the many sonic combinations and interpretations. As an amateur performer, I could use the apps to create my own realisations to play by myself or with other musicians. The Solo for Piano app allows the user to explore each type of notation of the Solo for Piano score and their variants. I played with each notation, starting from A, to get an idea of the different types of notations involved in the piece. As I have no current access to a piano, I tried some of my realisations on a keyboard app. I found that the notations requiring the most performance preparation were most fun as they had the most interactivity, e.g. notations A and G. For better clarity and understanding, each notation is digitally transcribed, but the original is visible in the notation information. In the app, each notation’s page displays the instructions for the notation, a transcription and an interactive realisation. Some notations are more fixed than others and are therefore not interactive, e.g. notation C. As the instructions are often ambiguous, the notation information provides further comments about the notation and how to interact with it through the app. The app offers one representation of the notation, and if other representations are possible, this is noted in the information panel. Despite this, the app gives the user a chance to make their own decisions on interpretation. In the Solo for Piano app, the user can change realisations in response to the instructions and explore the notation’s limits. The notation of the realisation is displayed in two modes: Analysis Mode shows the relationship between the transcription and the realisation, and Performance Mode presents a playable version of the notation in Analysis Mode. It is possible to manually change the spelling of notes, display randomised dynamics, and drag notes and dynamics to make the score look more presentable. Furthermore, notations in Performance Mode can be heard through MIDI playback with an adjustable duration. Extended techniques cannot be replicated through MIDI, however it gives the user a sense of the order of pitches/sounds over specified durations. Realisations can then be printed and, once the app is fully developed, the user can save the

中文翻译：

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'John Cage and the Concert for Piano and Orchestra' Web Apps：Solo for Piano and Concert Player。

“约翰·凯奇与钢琴与管弦乐队音乐会”是 AHRC 资助的项目，由 Philip Thomas 和 Martin Iddon 在哈德斯菲尔德大学和利兹大学领导。该项目包括一本书籍出版物（也在本期回顾）以及表演、录音、一个网站、一个国际会议和两个网络应用程序。《钢琴与管弦乐队音乐会》（1957-58）是一部艰巨而复杂的作品。它包括几个可能的同步独奏，每个独奏都有自己的符号：钢琴独奏（63 页，共 84 种类型的 146 个符号）和管弦乐独奏（12 或 16 页）。演奏说明允许乐器的任何组合，以及乐谱的任何数量和组合的页面和符号。该项目，包括应用程序，提供对作品未来表演可能性的洞察，以及通过其符号和表演对作品的理解。在一次在线演示中，Thomas 解释说，理解这首曲子的最好方法之一是演奏它，但这并不总是可行的。这是应用程序非常有用的地方。由 Christopher Melen 设计的 Solo for Piano 应用程序是一个基于乐谱的应用程序，它使用户能够探索钢琴的乐谱及其极限。而由 Stuart Mellor 设计的 Concert Player 应用程序允许用户以多种不同的组合聆听钢琴和管弦乐队的音乐会，这些组合可以随机化或手动选择。这两个应用程序目前都处于开发的高级测试阶段。它们直观且易于使用，并带有深入的指南，作为网络应用程序，它们可以在任何设备上访问。这些应用程序将使表演者、作曲家、音乐学家、学生、专业人士和非专业人士感兴趣。例如，我作为作曲家探索了这些应用程序，对符号及其灵活性以及许多声音组合和解释感兴趣。作为一名业余表演者，我可以使用这些应用程序来创建自己的实现，以便自己演奏或与其他音乐家一起演奏。Solo for Piano 应用程序允许用户探索 Solo for Piano 乐谱的每种类型的符号及其变体。我从 A 开始演奏每个符号，以了解乐曲中涉及的不同类型的符号。由于我目前无法使用钢琴，因此我在键盘应用程序上尝试了一些实现。我发现需要最多表演准备的符号最有趣，因为它们具有最多的交互性，例如符号 A 和 G。为了更好的清晰度和理解，每个符号都进行了数字转录，但原始符号在符号信息中可见。在应用程序中，每个符号的页面都显示了符号说明、转录和交互式实现。一些符号比其他符号更固定，因此不具有交互性，例如符号 C。由于说明通常含糊不清，因此符号信息提供了关于符号的进一步评论以及如何通过应用程序与其交互。该应用程序提供了一种表示符号，如果其他表示是可能的，这会在信息面板中注明。尽管如此，该应用程序让用户有机会就解释做出自己的决定。在 Solo for Piano 应用程序中，用户可以根据说明更改实现方式并探索乐谱的限制。实现的符号以两种模式显示：分析模式显示转录和实现之间的关系，演奏模式在分析模式中呈现符号的可播放版本。可以手动更改音符的拼写，显示随机动态，并拖动音符和动态，使乐谱看起来更像样。此外，演奏模式中的乐谱可以通过 MIDI 播放以可调节的持续时间听到。扩展技术无法通过 MIDI 复制，但它可以让用户了解指定持续时间内的音高/声音顺序。