Guest blog by Ewan Campbell, composer of Glynde.
In many ways cartography is to a landscape, what music notation is to sound. They both use two-dimensional visualisations to represent something which is multi-dimensional, and in the process create a beautiful pictorial format of their own. My map enthusiasm is driven by a desire for the overview that a maps offers, and the scope to explore the virtual depiction of a landscape.
There is however a crucial difference between the two idioms: music is always experienced through the temporal dimension, and time, as we know it, can only ever run forwards. No matter how many repeats, verses, loops or recapitulations a composer may decide to add there is always a beginning which at some moment later must be followed by an ending. As a result traditional music notation is linear, and read forwards like a book. The aim of my cartographic music is to make the musical form visible. The 2-dimensional score offers a structural overview of the virtual musical soundscape, which can be imaginatively entered into, just as one would ‘read’ a topographical map.