The Possible Stories of Harry Power

for three improvising instruments, a.m. radio and computerised score generator.​Harry Power was a bushranger in Victoria who is supposed to have ‘trained’ Ned Kelly in his criminal ways. There are many versions of how Ned Kelly came to be who he was. This piece is about versions. The written word (and note) is taken as fact, repeated throughout history. The oral story (or improvisation) is often expected to change as it passes though those who listen and retell it. When oral stories are written down in some point of history, they are likely to be different than how they started. In this work, there are a number of versions: composer versions, computer versions, player versions and combinations of all three. Written, listened to and ‘spoken’ versions. Pitch and volume are proportional, and the computer creates a score for the performers from the very performance of the composers score, altered by parameters provided by the composer. The computer generates 2 scores bookended by the composers scores.The three parts represent Power, Kelly and Kelly’s mother, who introduced Kelly to Power. They meet, come together and move apart. The how and when of these movements are only partially documented historically. My first and last scores are two maps I made of these peoples movements in relation to each other in time.PerformancesShort Shorts WAAPA 2010Decibel: Australiasian Computer Music Conference, Canberra, July 2010.Australasian Musicological Conference, Dunedin, New Zealand July 2010

本作品面向三件即兴演奏乐器（improvising instruments）、调幅（AM）收音机与计算机化乐谱生成器（computerised score generator）而创作。

哈利·鲍尔（Harry Power）是维多利亚州的丛林劫匪，据传曾“教唆”内德·凯利（Ned Kelly）走上犯罪道路。关于内德·凯利的成长经历，流传着诸多不同版本的叙事。本作品正是围绕这些版本展开。

书面文字（与乐谱音符）被视作史实，在历史中被反复转述。而口头故事（或即兴创作内容）则往往会在聆听者与复述者的传递过程中发生演变。当口头故事在历史的某个节点被以文字形式记录下来时，其内容很可能已与最初的版本大相径庭。

在本作品中，存在多种版本形态：作曲家版本、计算机生成版本、演奏者版本，以及三者的混合版本——涵盖书面、聆听与“口述”三种形式。

音高与音量呈正比关系，计算机将基于演奏者对作曲家原始乐谱的实时演奏效果，结合作曲家设定的参数进行调整，为演奏者生成专属演奏乐谱。计算机将生成两部乐谱，以作曲家的原始乐谱作为首尾边界。

作品的三个声部分别对应鲍尔、凯利，以及将凯利引荐给鲍尔的凯利之母。他们相遇、相聚又别离，而这些互动的具体时机与过程，在历史记载中仅有零星留存。我的首尾两部乐谱，是我绘制的两份时间轨迹图谱，用以呈现这三人彼此间的互动关系与时序变化。

演出信息：
2010年 WAAPA 短篇展演（Short Shorts WAAPA 2010）
2010年7月，堪培拉：Decibel 澳大拉西亚计算机音乐会议（Australasian Computer Music Conference, Canberra）
2010年7月，新西兰达尼丁：澳大拉西亚音乐学会议（Australasian Musicological Conference, Dunedin, New Zealand）