The author discusses "score streams," a compositional method in which notations are displayed dynamically on computer screens and interpreted by improvisers. These works are informed by contemporary explorations in telematic performance and by the many methods devised over the past half century in composer-improviser traditions, where works by individuals are understood as catalysts for profoundly collaborative real-time acts of creation. Referencing polyphony both literally and metaphorically, the author points to a richly generative dialogue between recent histories of improvised music and new forms of digital networking technologies. ©2010 ISAST.

Score composed for 2-site performance as part of Virtual Tour: A Reduced Carbon Footprint Concert Series (2013)

Music score for 12 musicians at 2 locations, composed for Changing Tides 2: A telematic translocational concert, 2020, between San Diego, CA/USA and Seoul, South Korea

Concert length work composed for trombone, computer, bass and drums

Concert length score for trombone, computer, bass and drums

Score notations and software diagrams for a concert length work for trombone, bass, drums and computer, taking the form of a "scorestream," a dynamic, screen-displayed score.

Telematic composition composed for the concert Changing Tides, 2016, between San Diego, CA/USA and Ansan, South Korea

Score for tenor sax, trombone, bass and drums

The COVID-19 pandemic lockdown brought much attention to live music making via the internet, amplifying the previously marginal fields of livestream concertizing and networked music performance. Drawing connections among recent publications, artists' creative strategies, and his own experiences, the author surveys questions about musical telepresence that arose in this process, including reflections on the nature of musical liveness in an increasingly digital industry, the creative potentials of networked music making, and the value of “thinking telematically” about cultural production and social change.