Composing with Sculptural Sound Phenomena in Computer Music
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Computer Sound Design : Synthesis Techniques and Programming
Computer Sound Design Titles in the Series Acoustics and Psychoacoustics, 2nd edition (with website) David M. Howard and James Angus The Audio Workstation Handbook Francis Rumsey Composing Music with Computers (with CD-ROM) Eduardo Reck Miranda Digital Audio CD and Resource Pack Markus Erne (Digital Audio CD also available separately) Digital Sound Processing for Music and Multimedia (with website) Ross Kirk and Andy Hunt MIDI Systems and Control, 2nd edition Francis Rumsey Network Technology for Digital Audio Andrew Bailey Computer Sound Design: Synthesis techniques and programming, 2nd edition (with CD-ROM) Eduardo Reck Miranda Sound and Recording: An introduction, 4th edition Francis Rumsey and Tim McCormick Sound Synthesis and Sampling Martin Russ Sound Synthesis and Sampling CD-ROM Martin Russ Spatial Audio Francis Rumsey Computer Sound Design Synthesis techniques and programming Second edition Eduardo Reck Miranda Focal Press An imprint of Elsevier Science Linacre House, Jordan Hill, Oxford OX2 8DP 225 Wildwood Avenue, Woburn MA 01801-2041 First published as Computer Sound Synthesis for the Electronic Musician 1998 Second edition 2002 Copyright © 1998, 2002, Eduardo Reck Miranda. All rights reserved The right of Eduardo Reck Miranda to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 No part of this publication may be reproduced in any material form (including photocopying or storing in any medium by electronic means and whether or not transiently or incidentally to some other use of this publication) without the written permission of the copyright holder except in accordance with the provisions of the Copyright, Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency Ltd, 90 Tottenham Court Road, London, England W1T 4LP. -
Das Siemens-Studio Für Elektronische Musik Geschichte, Technik Und Kompositorische Avantgarde Um 1960 MÜNCHNER VERÖFFENTLICHUNGEN ZUR MUSIKGESCHICHTE
Stefan Schenk Das Siemens-Studio für elektronische Musik Geschichte, Technik und kompositorische Avantgarde um 1960 MÜNCHNER VERÖFFENTLICHUNGEN ZUR MUSIKGESCHICHTE Begründet 1959 von Thrasybulos G. Georgiades Fortgeführt 1977 von Theodor Göllner Herausgegeben seit 2006 von Hartmut Schick Band 72 STEFAN SCHENK DAS SIEMENS-STUDIO FÜR ELEKTRONISCHE MUSIK Geschichte, Technik und kompositorische Avantgarde um 1960 VERLEGT BEI HANS SCHNEIDER · TUTZING STEFAN SCHENK DAS SIEMENS-STUDIO FÜR ELEKTRONISCHE MUSIK Geschichte, Technik und kompositorische Avantgarde um 1960 VERLEGT BEI HANS SCHNEIDER · TUTZING 2014 Gedruckt mit Unterstützung des Förderungs- und Beihilfefonds Wissenschaft der VG WORT Für die Online-Stellung durchgesehene, leicht überarbeitete Auflage München 2016 Bibliographische Information Der Deutschen Bibliothek Die Deutsche Bibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliographie; detaillierte bibliographische Daten sind im Internet über http://dnb.ddb.de abrufbar. ISBN 978-3-86296-064-4 ©2014 by Hans Schneider, D - 82323 Tutzing Alle Rechte vorbehalten, insbesondere die des Nachdrucks und der Übersetzung. Ohne schriftliche Genehmigung des Verlages ist es auch nicht gestattet, dieses urheberrechtlich geschützte Werk oder Teile daraus in einem photomechanischen oder sonstigen Reproduktionsverfahren zu vervielfältigen und zu verbreiten. Autor und Verlag haben sich bis zur Drucklegung intensiv bemüht, alle Publikations- rechte einzuholen. Sollten dennoch Urheberrechte verletzt worden sein, bitten wir die betroffenen -
String Quartets by South African Composers: a Comprehensive Catalogue and Annotated Discussion of Works Composed Between 1940 and 2016
String quartets by South African composers: a comprehensive catalogue and annotated discussion of works composed between 1940 and 2016 Hester Susanna Martens A thesis submitted in fulfilment of the requirements for the degree DMus (Performance) in the Department of Music at the UNIVERSITY OF PRETORIA FACULTY OF HUMANITIES SUPERVISOR: Prof. John de C Hinch October 2017 iii String quartets by South African composers: a comprehensive catalogue and annotated discussion of works composed between 1940 and 2016 Hester Susanna Martens ‘n Proefskrif voorgelê ter vervulling van die vereistes vir die graad DMus (Uitvoerend) in die Departement Musiek van die UNIVERSITEIT VAN PRETORIA FAKULTEIT GEESTESWETENSKAPPE STUDIELEIER: Prof. John de C Hinch Oktober 2017 iv Acknowledgements My sincerest thanks to: My study leader Prof. John de Courteille Hinch, for immeasurable support and guidance. The University of Pretoria Department of Music, notably Proff. Wim Viljoen, Alexander Johnson and Denise Sutton, for their encouragement and assistance. The University of Stellenbosch composition department, notably Prof. Hans Roosenschoon and composition students, for their advice and support. Santie de Jongh, head of the Documentation Centre for Music at the University of Stellenbosch, for making information on Arnold van Wyk and Graham Newcater available. University of Stellenbosch music library staff members Esmeralda Tarentaal and Sonette le Roux, for finding what I could not find. Proff. James May and Jan du Toit, for permission to include and discuss Arnold van Wyk’s works for string quartet. Anna Joubert and Alison Grové, for permission to include and discuss John Joubert and Stefans Grové. Liezl-Maret Jacobs, for making Roelof Temmingh’s manuscripts available. -
Compositional and Aesthetic Tensions in Mauricio Kagel's Antithese Für Einen Darsteller Mit Elektronischen Und Öffentlichen Klängen (1962)
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Scholarship@Western Western University Scholarship@Western Electronic Thesis and Dissertation Repository 11-19-2012 12:00 AM Anarchy in the Unity: Compositional and Aesthetic Tensions in Mauricio Kagel's Antithese für einen Darsteller mit elektronischen und öffentlichen Klängen (1962) Makoto Mikawa The University of Western Ontario Supervisor Dr. Kevin Mooney The University of Western Ontario Graduate Program in Music A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © Makoto Mikawa 2012 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Music Theory Commons Recommended Citation Mikawa, Makoto, "Anarchy in the Unity: Compositional and Aesthetic Tensions in Mauricio Kagel's Antithese für einen Darsteller mit elektronischen und öffentlichen Klängen (1962)" (2012). Electronic Thesis and Dissertation Repository. 951. https://ir.lib.uwo.ca/etd/951 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. ANARCHY IN THE UNITY: COMPOSITIONAL AND AESTHETIC TENSIONS IN MAURICIO KAGEL’S ANTITHESE FÜR EINEN DARSTELLER MIT ELEKTRONISCHEN UND ÖFFENTLICHEN KLÄNGEN (1962) (Spine title: Anarchy in the Unity: Mauricio Kagel’s Antithese) (Thesis Format: Monograph) by Makoto Mikawa Graduate Program in Music A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Makoto Mikawa 2012 THE UNIVERSITY OF WESTERN ONTARIO SCHOOL OF GRADUATE AND POSTDOCTORAL STUDIES CERTIFICATE OF EXAMINATION Supervisor Examiners ______________________________ ______________________________ Dr. -
On the Threshold of Beauty Philips and the Origins Of
Kees Tazelaar On the Threshold of Beauty Philips and the Origins of Electronic Music in the Netherlands 1925–1965 revised PDF edition, 2020 Dedicated to Dick Raaijmakers and Gottfried Michael Koenig Contents Foreword by Daniel Teruggi 7 Introduction 9 Part I Electroacoustics and Electronic Music at Philips Research Laboratories 1 Developments in Electroacoustics at Philips before 1945 17 Philips Research Laboratories · 17 Radios and Loudspeaker Development · 18 Film Sound: The Loetafoon and the Film “Philips Radio” · 22 The Philips-Miller Recording System · 26 Stereophonic Sound · 28 Synthetic Sound · 33 The Philiolist Loudspeaker Violins · 36 2 After World War II: Towards Electronic Music 38 “Canned Music” and a Music Laboratory · 38 Collaboration with Leopold Stokowski · 40 Leopold Stokowski and Roelof Vermeulen at the Concertgebouw · 45 Multiplication of Concerts · 50 Ambiophonics and Reverberation · 53 The Gravesano Music and Electroacoustics Conference · 59 Electronic Musical Instruments for the Fair of Science · 62 3 The Studio at Philips Research Laboratories 64 Henk Badings and the Nederlandse Radio Unie · 64 Henk Badings’ “Kaïn en Abel” and the Studio Equipment in Room 306 · 66 “Variations électroniques” and Philips’ Commercial Animation Films · 72 The Electronic Popular Music of Dick Raaijmakers, aka Kid Baltan · 77 Tom Dissevelt’s “Electronic Movements” · 80 More Electronic Music by Henk Badings · 83 Ton de Leeuw’s “Antiphonie” for Wind Quintet and Electronic Sounds · 86 The Composer Dick Raaijmakers · 87 The End of the Studio -
Sensible and Sensorial Explorations in Music
INTERNATIONAL ORPHEUS ACADEMY FOR MUSIC & THEORY Sensible and Sensorial Explorations in Music March 30th‐ April 1st 2015 Orpheus Institute, Ghent Belgium Page 2 Content Introduction 5 Schedule 6 Abstracts & biographies Academy convenor 11 Kathleen Coessens Guest Faculty 13 Tim Ingold Michael Levinas Fabien Lévy Lasse Thoresen Salomé Voegelin ORCiM Presentations 20 Tom Beghin Nico Couck Lucia D'Errico Jonathan Impett Juan Parra Cancino Luk Vaes List of participants 31 Page 3 Orpheus Academy for Music & Theory 2015 Page 4 With the topic 'SENSIBLE AND SENSORIAL EXPLORATIONS IN MUSIC', the International Orpheus Academy for Music & Theory 2015 will open the field of investigation towards a sensorial approach to music and its aesthetic theories. Sensory aspects of art are primordial in music practices. The musician listens, plays, listens deeper to play differently, to adapt the body, listens again and again; he or she is deeply involved in the sensorial qualities of his or her practice. However, when it comes to a reflection on or analysis of music, the cognitive aspects and the artwork as object are stressed. A sensorial approach to arts was rather absent in or confined to the borders of discourse on music, aesthetics and philosophy of art. This tension between theory and practice mirrors the different notions of the word 'aesthetics' over western history. While Baumgarten explored aesthetics as the relation between sensibility and reason, sensation and thinking, as a Sciencia cognitionis sensitivae, aesthetics afterwards ignored the status of the sensorial as being too confused and not reliable. Hence, two different paths of aesthetics evolved: the minor one grounded in a sensorial, physical origin of music events, the major one as the intellectual appreciation and intellectual analysis of 'beauty'. -
Resynthesized It Using Granular Techniques
Microsound This page intentionally left blank Curtis Roads Microsound The MIT Press Cambridge, Massachusetts London, England ( 2001 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any elec- tronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher. This book was set in Times New Roman in `3B2' by Asco Typesetters, Hong Kong and was printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Roads, Curtis. Microsound / Curtis Roads. p. cm. Includes bibliographical references and index. ISBN 0-262-18215-7 (hc. : alk. paper) 1. MusicÐAcoustics and physics. 2. Electronic musicÐHistory and criticism. 3. Computer musicÐHistory and criticism. I. Title. ML3805 .R69 2001 781.202Ðdc21 2001030633 Contents Introduction vii Acknowledgments ix Overview xi 1 Time Scales of Music 1 2 The History of Microsound from Antiquity to the Analog Era 43 3 Granular Synthesis 85 4 Varieties of Particle Synthesis 119 5 Transformation of Microsound 179 6 Windowed Analysis and Transformation 235 7 Microsound in Composition 301 8 Aesthetics of Composing with Microsound 325 9 Conclusion 349 References 353 Appendixes A The Cloud Generator Program 383 B Sound Examples on the CD 389 Name Index 399 Subject Index 403 This page intentionally left blank Introduction Beneath the level of the note lies the realm of microsound, of sound parti- cles. Microsonic particles remained invisible for centuries. Recent technological advances let us probe and explore the beauties of this formerly unseen world. Microsonic techniques dissolve the rigid bricks of music architectureÐthe notes Ðinto a more ¯uid and supple medium. -
Music out of Nothing? a Rigorous Approach to Algorithmic Composition by Iannis Xenakis
Music Out of Nothing? A Rigorous Approach to Algorithmic Composition by Iannis Xenakis vorgelegt von Peter Hoffmann Von der Fakultät I - Geisteswissenschaften der Technischen Universität Berlin zur Erlangung des akademischen Grades Dr. phil. genehmigte Dissertation Promotionsausschuss: Vorsitzender: Prof. Dr. Stefan Weinzierl Berichter: Prof. Dr. Christian Martin Schmidt Berichter: Prof. Dr. Helga de la Motte-Haber Tag der wissenschaftlichen Aussprache: 29.04.2009 Berlin 2009 D 83 Music Out of Nothing? A Rigorous Approach to Algorithmic Composition by Iannis Xenakis Peter Hoffmann October 11, 2009 “Perhaps we have grown too accustomed to the idea that it is necessary to exist. I think there is another way but I cannot see clearly, I cannot yet say what it is. There may be another reason for our life, our action than to strive for immortality, power or the jus- tification of existence [...] There must be other reasons. [...] [One] may die and disappear but that applies only to the individual. But not . ” (Iannis Xenakis, 29.05.1922–04.02.2001, in his 1980 conversation with B´alint Andr´as Varga.) 4 Next page: The sensational discovery by Rudolf Pfenninger and Oskar Fischinger (photo) in the 1930s that sound can be arbitrarily invented by “paint- ing” it on the optical sound track of a film strip (instead of recording and pro- cessing it) is reflected in a headline reading “Music out of Nothing” presented as the title of a short introductory prelude to the film “Barcarole” by Rudolf Pfen- niger, a puppet animation film with a synthetic optical sound track ([Goe98], [Mor93]). Iannis Xenakis, sixty years later, goes one step further. -
Curriculum Vitæ Cort Lippe
page 1 June 22, 2017 Cort Lippe —Curriculum Vitæ— Curriculum Vitæ Cort Lippe University at Buffalo tel: (716) 645-0654 Citizenship: American, French Department of Music fax: (716)-645-3824 Languages: English, French 222 Baird Hall email: [email protected] Buffalo, NY, USA 14260 www.music.buffalo.edu/faculty/lippe Education 1988 Analysis seminar, Franco Donatoni, IRCAM, Paris, France 1987 Warsaw Summer Courses, Witold Kotonski, Klaus Huber, Warsaw, Poland 1987 Analysis course, Olivier Messiaen, Centre Acanthes, Avignon, France 1987 Invention, Technique, and Language lectures (two years), Pierre Boulez, College de France 1986-85 Formalized Music and Analysis (one year course), Iannis Xenakis, University of Paris I – Sorbonne 1986-85 Acoustics and Psychoacoustics (one year course), Iannis Xenakis, University of Paris I - Sorbonne 1983 Analysis course, Karlheinz Stockhausen, Royal Conservatory of The Hague 1981-80 Computer Music (one year course), Paul Berg, Instituut voor Sonologie 1981-80 Signal Processing (one year course), Stan Tempelaars, Instituut voor Sonologie 1981-80 Programmed Music and Analysis (one year course), G.M. Koenig, Instituut voor Sonologie 1981-80 Logical Aspects of Music (one year course), Werner Kaegi, Instituut voor Sonologie 1977-76 Composition lessons, electronic, and computer music courses, Larry Austin, University of South Florida 1976 Composition seminar, Aaron Copland, Aspen School of Music 1976 Composition seminar, Leo Brouwer, University of Toronto 1975 Analysis course and composition seminar, Krysztof Penderecki,